中國(guó)當(dāng)代基督徒藝術(shù)家的繪畫藝術(shù)解讀
發(fā)布時(shí)間：2018-08-03 06:45
【摘要】：藝術(shù)與宗教的關(guān)系一直都是藝術(shù)史論和藝術(shù)理論中的一個(gè)重要的研究領(lǐng)域。站在科學(xué)的角度看藝術(shù)史,其部分內(nèi)容反映了社會(huì)、政治、經(jīng)濟(jì)、宗教、文化和戰(zhàn)爭(zhēng)史,重要的是：它反映了人類的歷史——視覺認(rèn)知的歷史,還反映了人類用自我創(chuàng)造的視覺形式和符號(hào)對(duì)人類視覺認(rèn)知過程的描述。這些藝術(shù)家們帶給大眾的不僅僅是圖像,而且還帶給大家一個(gè)透過其藝術(shù)作品之外的東西——一種全新的態(tài)度來審視人生、審視社會(huì)和審視人類對(duì)主觀世界和客觀世界認(rèn)知的價(jià)值定義和思考。 當(dāng)下的藝術(shù)早已從宗教中解放出來,成為了人類文明發(fā)展的重要推動(dòng)力之一。中國(guó)當(dāng)代藝術(shù)需要靈性的維度。從哲學(xué)層面上的思考,人作為自然物的存在是十分有限的,必然要面臨生與死的問題。人是“屬靈的”存在,只有人類才有思想,只有人類才會(huì)賦予人生種種實(shí)現(xiàn)終極性的價(jià)值和意義根據(jù),尋求解決生與死之間的矛盾和沖突。 基督教作為世界的三大宗教之一,《圣經(jīng)》中的許多故事深深地吸引了一代又一代的藝術(shù)家。而且不同時(shí)代的藝術(shù)家在描繪其內(nèi)容和故事的時(shí)候,往往會(huì)參雜進(jìn)去大量的自我想象以及那個(gè)時(shí)代人們生活的許多場(chǎng)景以及對(duì)事物的看法。通過這部分作品,我們又可以從另一個(gè)角度看到人類社會(huì)發(fā)展的視覺化歷史。隨著歷史的發(fā)展,隨著人類文明社會(huì)的進(jìn)步,人們的思想意識(shí)也在不斷地發(fā)展與進(jìn)步。 對(duì)于藝術(shù)作品本身,信仰者與非信仰者的感觀是截然不同的。信仰是人們對(duì)人生觀、價(jià)值觀和世界觀等的選擇和持有。也可以說,精神的需求,終極價(jià)值的關(guān)懷的確是可以激發(fā)起藝術(shù)家無盡的思索,并成為其創(chuàng)作的源泉。信仰和終極關(guān)懷始終是息息相關(guān)的。不論抱有怎樣的信仰,人們總是希望能通過這樣的信仰為自己帶來幸福和平安,擺脫客觀世界中的迷惑和疑問,在有限的生命中去實(shí)現(xiàn)更多的價(jià)值。藝術(shù)家往往選擇或利用某個(gè)主題來表達(dá)自己對(duì)于這個(gè)問題的思索和觀點(diǎn),對(duì)于信仰的思索和表達(dá)從古至今神之石未來,都將會(huì)是藝術(shù)家們創(chuàng)作永恒的靈感來源。 單純從畫面角度來說,觀者越來越多的將注意力轉(zhuǎn)移到畫家的生活背景以及創(chuàng)作初衷和理念。對(duì)基督信徒繪畫而言,如何以視覺的方式傳達(dá)、體現(xiàn)其信仰是最為關(guān)鍵的。本文中,將對(duì)這些繪畫形式語言、畫面的感染力以及圣藝術(shù)作品中一些常見的符號(hào)等方面進(jìn)行詳細(xì)的解讀。 社會(huì)對(duì)于基督信徒的定位眾說紛紜,比如個(gè)人化、神秘主義、超驗(yàn)主義等等評(píng)論,這些都是值得思考和探討的話題。 緒言部分將“基督信仰”與“基督文化”的本質(zhì)不同做以區(qū)別,以及探討了二者之間相互的內(nèi)在聯(lián)系。本文以具有基督信仰的國(guó)內(nèi)藝術(shù)家的信仰生活以及創(chuàng)作作品為背景,對(duì)中國(guó)當(dāng)代基督繪畫進(jìn)行深入探討,闡釋了中國(guó)基督教信仰在當(dāng)代藝術(shù)存在的原因、表現(xiàn)的具體對(duì)象、存在范圍及其存在的意義。 第一部分區(qū)別基督信仰與基督文化、教義、宗教的區(qū)別； 第二部分結(jié)合信仰背景重點(diǎn)分析信徒畫家的藝術(shù)創(chuàng)作的表現(xiàn)形式及繪畫語言的解讀； 第三部分闡述信仰對(duì)藝術(shù)家的價(jià)值觀構(gòu)建的深遠(yuǎn)意義； 結(jié)語部分縱覽全文,鑒于社會(huì)的各種批判,上述分析的基礎(chǔ)之上提出筆者的觀點(diǎn)。
[Abstract]:The relationship between art and religion has always been an important field of research in the history of art and the theory of art. From a scientific point of view, the history of art reflects the social, political, economic, religious, cultural and war history. It is important to reflect the history of human history, the history of visual cognition, and the human self. The visual forms and symbols are created to describe the process of human visual cognition. These artists bring not only images to the public, but also a new attitude to examine life, examine society and examine the value of human cognition to the subjective world and the objective world. Define and think.
The present art has been liberated from religion and became one of the important driving forces for the development of human civilization. Chinese contemporary art needs spiritual dimension. From the philosophical level, the existence of man as a natural thing is very limited. It must face the problem of life and death. Man is a "spiritual" existence, only human beings have ideas, Only human beings can endow life with all kinds of ultimate values and meanings, and seek to solve the contradictions and conflicts between life and death.
As one of the three major religions of the world, Christianity has attracted many generations of artists in the Bible. And when artists of different times describe their contents and stories, they often join in a lot of self imagination and many scenes and views on things that people live in that time. After this part of the work, we can also see the visual history of human social development from another angle. With the development of history, with the progress of human civilization, people's ideological consciousness is developing and progressing continuously.
For the works of art itself, the perception of the believers and the non believers is completely different. Faith is the choice and possession of people's outlook on life, values and world views. It can also be said that the need for spirit and the care of the ultimate value can inspire the endless thinking of the artist and become the source of his creation. Faith and ultimate concern begin. No matter what faith it is, people always hope to bring happiness and peace to themselves through this belief, get rid of the confusion and doubt in the objective world, and realize more value in the limited life. Thinking and expressing the future of God's stone from ancient times to the present will be an eternal source of inspiration for artists.
From the view of the picture, more and more attention is transferred to the painter's life background and the original intention and idea of the painter. For Christ's paintings, it is the most critical of how to convey his beliefs in a visual way. In this article, the language of the painting, the appeal of the picture and one of the works of the holy art are in this article. Some common symbols are explained in detail.
There are different opinions about the position of Christians in society, such as personalization, mysticism, Transcendentalism and so on. These are all topics worth thinking and discussing.
The preface makes a distinction between the essence of the "Christian belief" and the "Christian culture", and discusses the internal relations between the two. This article, based on the belief life and creative works of the domestic artists of the Christian faith, explores the contemporary Chinese Christian painting and explains the Christian faith in China. The reasons for the existence of contemporary art, the specific objects, the scope of existence and the significance of existence.
The first part distinguishes the differences between Christian faith and Christian culture, doctrines and religions.
The second part, combined with the belief background, focuses on the analysis of the art forms and language interpretation of the artists.
The third part expounds the profound significance of belief in the construction of artists' values.
The conclusion is a summary of the full text. Based on the various criticisms of the society, I put forward the author's view on the basis of the above analysis.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205
本文編號(hào)：2160872
[Abstract]:The relationship between art and religion has always been an important field of research in the history of art and the theory of art. From a scientific point of view, the history of art reflects the social, political, economic, religious, cultural and war history. It is important to reflect the history of human history, the history of visual cognition, and the human self. The visual forms and symbols are created to describe the process of human visual cognition. These artists bring not only images to the public, but also a new attitude to examine life, examine society and examine the value of human cognition to the subjective world and the objective world. Define and think.
The present art has been liberated from religion and became one of the important driving forces for the development of human civilization. Chinese contemporary art needs spiritual dimension. From the philosophical level, the existence of man as a natural thing is very limited. It must face the problem of life and death. Man is a "spiritual" existence, only human beings have ideas, Only human beings can endow life with all kinds of ultimate values and meanings, and seek to solve the contradictions and conflicts between life and death.
As one of the three major religions of the world, Christianity has attracted many generations of artists in the Bible. And when artists of different times describe their contents and stories, they often join in a lot of self imagination and many scenes and views on things that people live in that time. After this part of the work, we can also see the visual history of human social development from another angle. With the development of history, with the progress of human civilization, people's ideological consciousness is developing and progressing continuously.
For the works of art itself, the perception of the believers and the non believers is completely different. Faith is the choice and possession of people's outlook on life, values and world views. It can also be said that the need for spirit and the care of the ultimate value can inspire the endless thinking of the artist and become the source of his creation. Faith and ultimate concern begin. No matter what faith it is, people always hope to bring happiness and peace to themselves through this belief, get rid of the confusion and doubt in the objective world, and realize more value in the limited life. Thinking and expressing the future of God's stone from ancient times to the present will be an eternal source of inspiration for artists.
From the view of the picture, more and more attention is transferred to the painter's life background and the original intention and idea of the painter. For Christ's paintings, it is the most critical of how to convey his beliefs in a visual way. In this article, the language of the painting, the appeal of the picture and one of the works of the holy art are in this article. Some common symbols are explained in detail.
There are different opinions about the position of Christians in society, such as personalization, mysticism, Transcendentalism and so on. These are all topics worth thinking and discussing.
The preface makes a distinction between the essence of the "Christian belief" and the "Christian culture", and discusses the internal relations between the two. This article, based on the belief life and creative works of the domestic artists of the Christian faith, explores the contemporary Chinese Christian painting and explains the Christian faith in China. The reasons for the existence of contemporary art, the specific objects, the scope of existence and the significance of existence.
The first part distinguishes the differences between Christian faith and Christian culture, doctrines and religions.
The second part, combined with the belief background, focuses on the analysis of the art forms and language interpretation of the artists.
The third part expounds the profound significance of belief in the construction of artists' values.
The conclusion is a summary of the full text. Based on the various criticisms of the society, I put forward the author's view on the basis of the above analysis.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 王蓓;;偶像、圣像與形象——論基督教審美立場(chǎng)的轉(zhuǎn)變[J];西北師大學(xué)報(bào)(社會(huì)科學(xué)版);2011年05期
，本文編號(hào)：2160872
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