巴黎畫派中的東方情韻—常玉與藤田嗣治繪畫風格對比
發(fā)布時間：2018-12-11 23:22
【摘要】：如果要說西方藝術(shù)史上最獨特的藝術(shù)流派,就非巴黎畫派莫屬了。因為它指的并不是傳統(tǒng)意義上的一個藝術(shù)流派,而是說從二十世紀初期到中期,活躍于巴黎蒙馬特、蒙帕納斯的藝術(shù)家形成的一種繪畫藝術(shù)活動。畫派的藝術(shù)家有著自己風格的追求,始終堅持著自我,只因某段時間同處巴黎,這座當時的世界藝術(shù)中心,而被統(tǒng)稱為“巴黎畫派”。其中不乏東方面孔——常玉、藤田嗣治。常玉的繪畫受中國傳統(tǒng)繪畫和西方現(xiàn)代文化的雙重影響,形成了自己獨特的“常玉”風格。在他的畫面中,我們既能看到傳統(tǒng)文人畫的精神內(nèi)涵,又能發(fā)現(xiàn)西方現(xiàn)代主義的象征與荒誕。他的創(chuàng)作理念來自于自身所獨有的孤傲、追求自由的氣質(zhì)。簡練的畫面、夸張的形態(tài)、典雅而清新的色彩,中國書法筆墨的概括力與神韻與西方現(xiàn)代繪畫的表現(xiàn)力、力度融合為一體。既把握住了中國美學(xué)的含蓄內(nèi)斂,又能感受到西方美學(xué)其中的夸張外放。中西文化因素在他的畫面上自然交融,回味悠長。藤田嗣治開創(chuàng)了獨特的融合水墨韻味的油畫形式,注重以情緒化的直覺經(jīng)營畫面,追求視覺美感和工藝精致。極具現(xiàn)代感,簡潔明了,帶有明顯的東方繪畫特征。他沒有盲目的跟隨當時的歐洲現(xiàn)代藝術(shù)潮流,并不惜回歸傳統(tǒng),他的畫面顏色清新淡雅,很少使用艷麗的顏色。纖細的線描將日本畫的平面性與油畫的寫實性相結(jié)合,才創(chuàng)造出了令歐洲藝術(shù)界矚目的東方風格。打破了“日本畫“與”洋畫”之間的鴻溝,以“絕妙的乳白色征服了”響譽巴黎藝壇。藤田嗣治也成為了極少數(shù)能夠響譽世界美術(shù)史的亞洲畫家。雖然常玉和藤田嗣治來自于不同的國家及有著不同的文化背景與經(jīng)歷。但是他們都是來自東方且極具才氣、并生活在巴黎的藝術(shù)家,在巴黎的不同境遇,面對東西方文化的沖突以及對自身身份認同問題的思考,兩人在創(chuàng)作中對東方與西方藝術(shù)的的探索和融合,使他們兩人的繪畫語言和形式上產(chǎn)生了很多共鳴。尤其是他們繪畫作品給中產(chǎn)生的共通性。如何使中西方繪畫能夠很好的融合與互補,傳統(tǒng)繪畫語言如何在當代語境下進行轉(zhuǎn)變,這將是每一個作為中國藝術(shù)家所需要思考與探討的。
[Abstract]:If we want to say the most unique art school in the history of western art, it is Paris school. Because it refers not to an art school in the traditional sense, but rather to a painting art activity formed by the artists active in Montmartre, Montparnasse, from the early to the middle of the twentieth century. Painting artists have their own style of pursuit, always adhere to self, just because of a certain period of time in Paris, this world art center, and is called "Paris painting school." Among them there is no lack of oriental faces-Ivy, Fujita Siji. Changyu's painting is influenced by Chinese traditional painting and western modern culture, forming his own unique Changyu style. In his paintings, we can not only see the spiritual connotation of traditional literati paintings, but also find the symbolism and absurdity of western modernism. His creative ideas come from his own unique solitude and the pursuit of freedom. Concise picture, exaggerated form, elegant and fresh color, the generalization and charm of Chinese calligraphy and ink and the expressive power of western modern painting are integrated. It not only grasps the implicature of Chinese aesthetics, but also feels the exaggeration of western aesthetics. Chinese and Western cultural factors in his picture naturally blend, long aftertaste. Fujita has created a unique oil painting form that integrates the charm of ink and water, focusing on the emotional intuitive management of the picture, the pursuit of visual beauty and exquisite craft. Very modern, concise and clear, with obvious characteristics of Oriental painting. He did not blindly follow the trend of modern European art, and did not hesitate to return to tradition, his picture color fresh and elegant, rarely use brilliant colors. The fine line drawing combines the plane of Japanese painting and the realism of oil painting to create the oriental style that attracts the attention of European art circles. It breaks the gap between Japanese painting and foreign painting, and conquers the art world of Paris with excellent milky white. Fujita has also become one of the few Asian painters who have a reputation for world art history. Although Ivy and Fujita come from different countries and have different cultural backgrounds and experiences. But they are artists from the East and very talented, and who live in Paris, in different situations in Paris, in the face of cultural conflicts between the East and the West, and in thinking about their identity. The exploration and amalgamation of eastern and western art in their creation resonated with each other in their painting language and form. Especially the commonality of their paintings. How to make Chinese and western painting merge and complement each other and how to change the traditional painting language in the contemporary context will be what every Chinese artist needs to think about and discuss.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J205
本文編號：2373414
[Abstract]:If we want to say the most unique art school in the history of western art, it is Paris school. Because it refers not to an art school in the traditional sense, but rather to a painting art activity formed by the artists active in Montmartre, Montparnasse, from the early to the middle of the twentieth century. Painting artists have their own style of pursuit, always adhere to self, just because of a certain period of time in Paris, this world art center, and is called "Paris painting school." Among them there is no lack of oriental faces-Ivy, Fujita Siji. Changyu's painting is influenced by Chinese traditional painting and western modern culture, forming his own unique Changyu style. In his paintings, we can not only see the spiritual connotation of traditional literati paintings, but also find the symbolism and absurdity of western modernism. His creative ideas come from his own unique solitude and the pursuit of freedom. Concise picture, exaggerated form, elegant and fresh color, the generalization and charm of Chinese calligraphy and ink and the expressive power of western modern painting are integrated. It not only grasps the implicature of Chinese aesthetics, but also feels the exaggeration of western aesthetics. Chinese and Western cultural factors in his picture naturally blend, long aftertaste. Fujita has created a unique oil painting form that integrates the charm of ink and water, focusing on the emotional intuitive management of the picture, the pursuit of visual beauty and exquisite craft. Very modern, concise and clear, with obvious characteristics of Oriental painting. He did not blindly follow the trend of modern European art, and did not hesitate to return to tradition, his picture color fresh and elegant, rarely use brilliant colors. The fine line drawing combines the plane of Japanese painting and the realism of oil painting to create the oriental style that attracts the attention of European art circles. It breaks the gap between Japanese painting and foreign painting, and conquers the art world of Paris with excellent milky white. Fujita has also become one of the few Asian painters who have a reputation for world art history. Although Ivy and Fujita come from different countries and have different cultural backgrounds and experiences. But they are artists from the East and very talented, and who live in Paris, in different situations in Paris, in the face of cultural conflicts between the East and the West, and in thinking about their identity. The exploration and amalgamation of eastern and western art in their creation resonated with each other in their painting language and form. Especially the commonality of their paintings. How to make Chinese and western painting merge and complement each other and how to change the traditional painting language in the contemporary context will be what every Chinese artist needs to think about and discuss.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J205
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