【作者】 田勇；

【导师】 李公君；

【作者基本信息】 吉林大学 ， 美术学， 2008， 硕士

【摘要】 当今社会注重感情体验,在个体生命中搜寻绘画题材,精神作为一种具有冲击力的主题而备受关注。东方与西方,中国传统文人画与西方现代主义绘画在“精神”的层面上,在人性的展现上存在着一座沟通的桥梁。即人文精神的背后是内在情感的对接,而自然、文化、感情是人类艺术的共性表达主体,是东西文化的对接。运用比较美术的美学研究方法,深入的学习中国传统绘画中的审美趣向,分析西方现代主义的“精神”支柱,同时认真研究现当代艺术的发展动态,从中发现东西方文化的异同,提高自身的艺术鉴赏能力与判断力。传统与现代的结合形成了一个重要的课题。在比较与思考中可以看到,随着个人语言的建立,客观因素逐渐减少,而精神因素要不断形成,最终达到二者的相对平衡。对客观物象的再现是有规律和方法的,对精神情感的表现则需要有知识、文化等因素的支撑。更多还原

【Abstract】 The Chinese traditional literati drawing and the western painting are two different kinds of drawing manifestation. The two have formed the respective drawing language system from the thoughts and feelings to the expression content and from the manifestation to the reappearance method under the support of their own history and cultural. But regardless of eastern Chinese traditional literati painting or western modernism painting, they both have the intense humane spirit, which is reflected in the human intrinsic harmony of the Chinese traditional literati painting. The reason is that the Chinese literary intelligentsia is seeking inside for the self-survival condition unceasingly and pursuing the spirit of the whole of nature and human under the Chinese esthetics thought Great Tao. However, it manifests the external harmony in west modernism painting. We can see from the history that until the end of 1900’s, with the modernism painting’s arrival, the European painting gradually opened the door of the spirit represent, from the reappearance painting to the performance field. From this point, not only have the two had the external differences, also they have something in common in the spirit respectThe Chinese often says no need for words on the high ropes, the spirit lives outside. The poetry or the literati drawing especially takes the abstract concept of form and spirit, the psychic, elegant and vulgar seriously. This on the one hand manifested that the drawer request their own cultural education in the ancient times, and the drawer took the moral behavior and the personality spirit as a basis, paid much attention on the elegance of the drawing, manifested the work’s depth and connotation while unfolded the painter’s talent; on the other hand it has manifested the oriental’s esthetic orientation. The literator took advantage of the drawing’s description of the natural scenery to express their mind’s feeling, heroic or despondent, opening their elegant and high-hearted. Regardless of the idea and emotion expression of the main body of the individual, or the romance of writings and sentiments, or the object representing, the theme choices are all through the ancients’ individuality characteristic self-expression.Intention and spirit have become the situation of the non-language and the god outside the shape. This internal spirit pursuit is the Chinese literator’s artistic creation. When the western painting is prosperous today on this ancient land of China, the painters should reconsider the nationality path of Chinese painting while studying the western painting. The ancient times’ inward seeking is proposing the new task and direction for the Chinese painting’s development. We may see the results of the Chinese painters’ groping from the practical painting to the performing painting and the abstract painting, and again to the enjoyable image painting.Comparing with the Chinese painting, the spiritual expression is much later in the western representing painting, but its expression of content, form and feeling is more direct than the Chinese painting expression, and is also more violent. Since the end of 1900’s, the western modernism painting started from the external representation to the person’s intrinsic inner world and the main body of the picture gradually. Impressionism painting started from the science. On the one hand they completed mission of revolting against the institute, the painters proposed the drawing must get rid of the dependence of literature and history, artistic language own independent value and art just for art and so on ideas, the painting started to move toward person’s innermost feelings, causing the modernism art have the characteristic of symbolism, representing and abstractive compare with the traditional art on the basic of practical and imitate; on the other hand, it also had opened a door for the modernism painting’s arrival. At the end of 19 century, the post-impressionist school’s painting, as the beginning of Europe modernism painting, caused the artists’ feeling become the subject. People started to pay attention to the social main body, and the real mind’s world behind the image. From then on, through the mutual influences, inheritances and development of the numerous schools in several dozens years, the west modernism painting had the important exploration in many kinds of fields, like light, color, shape, body, space, mark, physics, consciousness and so on aspects, and the psychic performing is everywhere.We should say that the west modernism painting has completed the transformation from the reappearance art to the expression art, from the external form to the intrinsic factor, from the material to the spiritual. The spirit expression has become the western painting’s mainstream. Therefore, after the millennium development, the painting of western and eastern obtains the fusion in this spirit.The pictorial representation to the psychic performance is the most direct, profound and real reappearance of the human nature. Regardless of the Confucian’s spirit of the widely known express the spirit by the shape, has both form and spirit, or taking as the test facility of the picture’s emotion performance, the painters are exploring the form of picture unceasingly, and also pouring out the sensation of the world. Behind the material world, in the millennium historical perpetual river, and under two entirely different cultural contexts, we may feel this kind of revealing of the human nature.During the comparison and the research of the Chinese traditional drawing and the west modernism painting, the creative thought is more and more clear-cut. After the modernism’s development, the western painting has already entered the modern linguistic environment. Post-modern art which takes the idea, consciousness, information and the synthesis factors as the main body has become the worldwide basis mainstream culture gradually. This modernity is unable to avoid. The artists want to stress the modernity of the work, and simultaneously they also need to study ancient classic masterpieces by the learned great masters who had well-read accomplishment, excellent skill and rich imagination. We will lack the premise of the development if not inherit it.The modern painting starts the observation of objective things, and realizes the spirit abstractly (the abstract is not finally refers to expression means that is contrary to practical embodiment, but refers to human abstract emotion, which may not only through visible transmission also be possible through invisible language indication). With the individual language’s establishment, the objective factor reduces gradually. Yet the spirit factor is forming unceasingly, and the two is balanceable finally. To represent the objective is orderly and methodical, but to express the spirit, we need to have the support of the knowledge and culture. Now the society pays great attention to the sentimental experience, and searches for the drawing theme in the individual life. The spirit as the impulse subject receives the great attention. Experience the time characteristic, abstract each kind of factor (interest in every field) in the modern life and express it in your own experience, and this abstract is the spiritual depuration process in itself.更多还原