论文部分内容阅读
艺术多元化格局的形成并没有造成架上绘画的消失,反而使架上绘画有了更多的可能性。文章建立在对传统的继承和建设的基础之上来讨论继续具象艺术的一种方式——“感悟事物,自由取象”。前人留下的不只是他们感知、表达世界的技艺,而且更重要的是他们产生这些技艺的智慧。我们可以通过对这种智慧的主动继承来认识“新”事物,并自由表达自己所感。文章的第一章阐述了“悟”与“虚静”的关系并结合中国古人“衣、食、住、行”四方面和西方审美体验说来讨论以感性为主的审美体悟方式。第二章阐明了“自由”的两重含义和“象”所包含的四个概念,并用具体的例子来说明艺术家以这种方式(以感性为主的审美体悟方式)为基础,在对物象的自由取舍中获得的表达自由。同时还认为理性知识是感悟的基础,感性认识不可 能离开理性知识。最后文章还叙述了艺术中“新”的来源,并指出只要具象艺术能推陈出新,它就能继续。
The formation of a pluralistic structure of art has not caused the disappearance of painting on the shelves, but has made it possible to draw more paintings on the shelves. The article is based on the tradition of inheritance and construction to discuss the way to continue the concrete art - “perception of things, freedom of the image.” What our predecessors have left are not just the skills that they perceive and express the world, but, more importantly, the wisdom they produce. We can recognize “new” things through the active inheritance of such wisdom and freely express our feelings. The first chapter of the essay elaborates the relationship between “enlightenment” and “virtual tranquility” and discusses the way of aesthetic comprehension based on perceptualism combining with the ancient Chinese “clothing, food, shelter and transportation” and western aesthetic experience. The second chapter expounds the dual meanings of “freedom” and the four concepts contained in “Xiang”, and illustrates the artist’s concrete method based on the way of aesthetic appreciation (mainly based on perceptualism) Freedom of expression obtained in the free choice. Also think that rational knowledge is the basis of sentiment, perceptual knowledge can not leave rational knowledge. The final essay also describes the source of “new” art, and points out that as long as figurative art is renewed, it can continue.