作者：胡寿荣

出版单位：中国美术学院

中文关键词：意象造型;;意象表现

英文关键词：image modeling ;; performance of image

中文摘要：本文展开的中德绘画艺术比较。是建立在相应的历史文化背景之上。通过比较给出的关系项,我们探其源,又通过对本根的认识,强化和夯实比较的内容。首先,从探寻意象造型原初形态入手,从而拉开文论的帷幕。一至两万年前的远古中国原始岩画与西方的岩洞壁画,先民们质朴、粗野、简明的涂抹,勾画、表现了意象性形廓的直观。我国宁夏卫宁山地区大麦地,宁夏贺兰山的远古岩画以及欧洲西班牙《阿尔塔米拉洞窟壁画》,法国南部蒂尼亚附近的《拉斯科洞窟壁画》的造型都反应了“意象性意味”共同的特点。远古岩画造型倾向于“简略与符号化”。手法上基本采用“单线与平涂”(只是西班牙阿尔塔米拉隐约出现体感的晕染),形态较为类似。我国出土的战国时期帛画,以现出意象性表现的端倪。汉晋时期意象性造型的意味在壁画、雕塑以及画像砖、画像石中已形成了约定俗成的模式。在本文的第一章第一节中将对这一时期的意象性表现的文化氛围作概括,随之论述早期的敦煌壁画。主要讨论北凉、北魏时期最初引入西域佛教绘画的情形,考察这一时期异质的意象性造型在敦煌壁画中是如何被消化等内容。北魏中期,我们明显地看到了汉晋意象造型视觉艺术逐步在敦煌壁画中形成兼容并包的态势,这些对研究我国古代意象性的造型与意象性表现之形成起到铺垫作用,也可以说,它起到了承前启后的作用。本文主要由两大内容结成比较对象,从审美层面意义上讲它们合而不同。“合”在于它们都同属于意象性表现,都是把自己心灵深处的境界发挥到艺术境界,在表达视觉形态构成上极力夸张变形,强调“主观”,强调“内在需要”。“不同”则在于表达的方式方法、审美趣味,包括工具、材质等方面的截然不同。当然更进一步说,内容和格调也是不同的,在画面中最为明晰地体现了不同地域、不同族类的固有文化心态。我们比较的议题的平衡点常常出现旨趣方面的反差。譬如空间观念上,中西各有其表示,对透视理解中方是散点的。西方则是焦点的。中方是平面的,西方是体感的。其实,体现在德国表现主义绘画中原来的空间意识也模糊起来了,这在于他们中大部分画家也采用平面的,有的极力弱化光感,回到对固有本色的描写。中国古代意象表现与德国表现主义的比较内容十分丰富,本文采取以具有代表性的人物与代表作品为主线,针对性地对作品进行分析,力求从具体作品的解读中找到它与主线的联因。这样既避免理论上的空洞,又使内容的显现有了形象的依据。方法上采用分类进行比照。有如,简略、抽象、写意、形线等对不同形式和类别分别进行解析。中国古代方面以南宋梁楷为中心,以《泼墨仙人图》为重点。同时,也对贯休、石恪、法常、龚开、陈老莲、黄慎等五代至明清画家的作品及艺术风格等等进行讨论。甚至涉及到对古代绘画中意象表现具有影响力的花鸟画家徐谓、八大山人,借以丰富比较的内容。德国表现主义方面,则以蒙克、康定斯基为首要研究对象,以《呐喊》为重点,展开议论与分析。并且把桥社、青骑士作为团体整体进行讨论。对于表现主义的探讨,涉及面广,人数多,那些对表现主义的形成产生直接影响的画家都被纳入研究对象。如被誉为现代艺术之父的塞尚、高更、梵高以及典型的象征主义绘画代表人物雷东、莫罗、夏凡纳。文中还着重分析了有影响力的表现主义画家的代表作,如基希纳、诺尔德、克利、贝克曼、克里姆特、席勒等等他们的绘画都具有很强个性和鲜明的德国表现主义风格。本文力求整体结构的统一性,在把握研究主线的同时,相关细节部分也得以展示。值得一提的是文中理论方面的引用和图片的配置尽量做到紧扣主题的要求。力求引用的理论贴切、有说服力。本文的比较研究采取的是:会同、交叉、分化、并举的手法,使得相互包含或相悖的问题更为明朗。在方法论的构架方面,力求定向明确,主题突出,主干与枝节层次清楚,相互通达,相互渗入,构成它整体特色和风貌。

英文摘要： The comparison between Chinese art and German art in this article is on the background of the corresponding history and culture.By comparing the relative points offered,we explosure their source,by learning the origin root.We strongthen and reinforce the content which we are comparing. First of all,start with exlosuring the the original shape of the imago sculpt,we open the curtain of the text.In the ancient Chinese and western rock paintings of the original cave murals one to two million years ago,our ancestors sketche,express the imago sculpt's intuitive by simple,rough and concise smear.In the large corn field of Ningxia mountain place,the ancient rock paintings of Ningxia Helan Moutain,and "the Altamira cave murals" in Spain,"La sike cave murals"'modeling,near Diniya of southern France,all response the image sculpt's common characteristics.Ancient rock paintings tend to be formed into "brief and symbolization ".In the way of " single line and ping tu "(only a faint sense of the Yunran),they are almost in a similar form.The silk painting in the warring period has already show the clues of the images performance.Images of the Han and Jin Dynasties period that in the form of murals,sculptures and portraits of brick,stone portraits have formed a common pattern.In the first chapter of the paper,we will talk about the culture atmosphere of image expression in general,then we will also discuss the early Dunhuang frescoes.Focusing on the situation when the Western Regions was introduced into China when Beiliang and Beiwei,we explosure how the changed image sculptrures can be digested in Dunhuang.In the middle of Beiwei,we can see the double posture of the Hanjin image sculture art gradually formed clearly.This is matting for learning about the image sculture and the image expressing scultrue,in one word,it's a link between past and future role.This article is formed by two elements which form the main targets of comparison,and the aesthetic dimension from the sense shows they are different."Synergy" means that they all belong to the image of performance,which are deep in their hearts to play the realm of art realm,in the form of a visual expression of the strongly exaggerated deformation,stressing that "subjective" and "internal needs"."Different" lies in the expression,aesthetic tastes,including tools,materials and so on.Of course,the content and style are different furtherly,and the screen reflected clearly the different regions,different ethnic categories of native culture mentality.The point of balance we compare is often purported in contrast.For example, as to the concept of space,the Chinese have their own perspective that the Chinese side to understand the perspective which is scattered point,while the West is by focusing.Chinese way tends to be plane,while the West is in a bulk way.In fact, the original sense of space which embodied in the German Expressionist painting in also blurred,and most artists of them also used the plane mode,some strongly weaken the sense of light and return to the inherent qualities of the film.Imagery with the performance of ancient Chinese and the German Expressionism of comparison are rich in content.The paper takes representative artists and representative works of them to be the main line,targeted analysis of the work,to find the reason with the read of the specific works.This will help to avoid the empty theory,and give some support for the content. We use methods of classification.For example,brief,abstract, freehand,on-line forms and different types of analysis were carried out.Ancient Chinese regards to Liangkai of the Southern Song Dynasty as the center,《Po Mo Xian Ren》as the focus.At the same time,we also have a discuss of Guan Xiu, Shi Ke,Fa Chang,Gong Kai,Chen Laolian,Huang Shen,such as the Five Dynasties period from the Ming and Qing Dynasties painter's works and artistic style.Even Xu Wei and Ba Dashanren who have an impact on the performance of Flowers and Birds Painting have been involved,to enrich the content we are comparing.About the German Expressionism,we take Munch, Kandinsky to study about,and "The Scream" as the focus to start our discussion and analysis.And take Qiaoshe and Qingqishi as a group to have a discuss.The study involves many sectors,numbers of artists,as well as the artists who have a direct impact on the formation of the expressionism have been included.For instance,Cezanne known as the father of modern art,Gauguin,Van Gogh and Leidong, Chamorro,Chavannes who is a typical representative of the symbolism art.The paper also highlighted the representative works of the influential painters,such as Kirchner,Nolde,Klee,Beckmann, Klimt,Schiller and so on,whose painting has a brilliance personality and a strong performance of Germany style.This article focus on the overall structure of uniformity. While grasping the main line of research,some details have been displayed at the same time.It is worth mentioning that,in theory,the use and allocation of the picture have been put closely as possible to the requirements of the theme.We try our best to make the theory we have used appropriate and persuasive.The way we use to do the research is comparison: converge,cross,differentiation,to make the problem which surround or contrary with each other more clear.In the framework of methodology,we seek to a clear orientation,the prominent theme,a clear difference of trunk and minor level, mutual accessibility,mutual infiltration,to constitute the overall character and style.

[中文刊名]：哲学与人文科学辑 [发表时间]：2008-06-30 [第一导师]：吴山明 [主题]：理智与直觉

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