本文選題：中國藝術(shù)精神 + 藝術(shù)自覺　； 參考：《美術(shù)觀察》2010年11期

【摘要】：正雖然藝術(shù)并非一定起源于"模仿",但模仿卻是古代藝術(shù)最主要的特征之一。而一旦人們擺脫了這一階段進(jìn)入"情緒的表達(dá)"或"心靈的再現(xiàn)",則是藝術(shù)自覺的開始。原始陶器在追求實(shí)用的同時(shí),對(duì)器物造型與裝飾的審美要求,是人類有意識(shí)或無意識(shí)的藝術(shù)自覺。所謂"自覺",即為自我所感知,有自我覺醒和自我奮發(fā)之意,是一種內(nèi)在的主動(dòng)覺悟。徐復(fù)觀在《中國藝術(shù)精神》中說:"到了魏晉時(shí)代,因玄學(xué)之力,而比西方早一千多年,引起了藝術(shù)的真正自覺。"然而,中國的現(xiàn)代藝術(shù)又何以由"自覺"返回到了"模仿"狀態(tài)呢?眾所周知,中國畫的臨摹不同于藝術(shù)的模仿,從"師古人之跡"到
[Abstract]:Although art does not necessarily originate from imitation, imitation is one of the most important features of ancient art. Once people get rid of this stage and enter into "expression of emotion" or "reappearance of mind", it is the beginning of artistic consciousness. In pursuit of practicality, the aesthetic requirements for the shape and decoration of objects are the conscious or unconscious artistic consciousness of human beings. Self-consciousness, which means self-awareness, self-awakening and self-exertion, is an inner active consciousness. Xu Fuguan said in "the Spirit of Chinese Art": "in the Wei and Jin dynasties, because of the power of metaphysics, more than a thousand years earlier than the West, it aroused the true consciousness of art." However, how can Chinese modern art return from "consciousness" to "imitation"? As we all know, the copying of Chinese painting is different from the imitation of art.
【作者單位】： 景德鎮(zhèn)陶瓷學(xué)院陶瓷美術(shù)學(xué)院;
【分類號(hào)】：J120.9
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本文編號(hào)：2054002