【作者】 张涛；

【导师】 徐福厚；

【作者基本信息】 河北师范大学 ， 美术学， 2008， 硕士

【摘要】 悲观主义在西方的发展至今已经有2个世纪了,悲观主义由叔本华的提出到尼采的升华再到当今文化悲观主义的盛行,我们不能认为它的罕见,悲观主义认为人生充满绝望,对事物的发展充满失望,认为人生压抑、颓废、缺乏创造性。本文第一章介绍了悲观主义的概念以及在西方社会的发展和意义。叔本华认为悲观主义在现实生活中,人追求幸福和满足,但却得不到。所谓的幸福与享受只是欲望的暂时停止,欲望其实是一种痛苦的形式,人从来就是痛苦的。幸福是愿望得到了满足,但愿望一旦得到满足,就不再是愿望,就会产生可怕的空虚和无聊,人的存在和生存本身就会成为他不可忍受的重负。虽然人想尽一切办法逃避空虚和无聊,消除痛苦,但却无法成功。因为痛苦和空虚无聊不是人生偶尔的现象,而是人生的本质。叔本华认为,幸福都只是消极的,而不是积极的。幸福无非是从痛苦或缺陷中获得解放,但解放以后必然又是新的痛苦。大多数人的生活就是这样被痛苦和空虚包围。尼采虽然接受了叔本华悲观主义的前提,却得出了完全相反的结论。尼采将悲剧的根源归为酒神精神并以希腊悲剧的诞生为例来说明之,在尼采看来,希腊神话和希腊原始宗教中的“酒神”是“生命本能”的直接象征,也是生命“冲动”,生命“激情”,生命“欲望”和生命“意志”的最高象征。尼采所谓的“酒神”只是“人的生命”的最高象征,换句话说,尼采的酒神是“生命化的”、也是“人性化的”。因此,说悲剧起源于酒神精神等于说悲剧的本源在生命与人性之中。第二章概述了悲观主义对西方绘画的影响,悲观主义在西方绘画中的发展体现在19世纪末20世纪初,高更、凡高的作品在最初体现出了悲观的情态,而悲观主义在西方真正发展的高潮在20世纪前半叶的表现主义。在表现主义的画家作品中,他们把对社会的不满。对人生的焦虑,都体现的淋漓尽致。表现主义者对于人类的苦难、贫困、暴力和激情深有所感,他们作品中那些孤独、惶恐失措的人物形象,既被用来表现20世纪初人们的种种忧虑,也被用来表现普遍意义上的生存状况。因此这些人物形象被当时的艺术批评家们称为是“野蛮的本能”的体现——色情、尖叫、狂笑。第三章介绍了悲观主义在中国的初始阶段与在中国发展的过程,悲观主义在中国的发展始于中国抗日解放时期,悲观主义在建国后处于发展时期,然而它的发展高潮却是在当今社会。九十年代初期,中国社会的经济高速增长和以后意识形态方式进行的社会变革,使自由市场经济、都市化、跨国经济和全球文化、以及经济高速增长带来的物质主义文化开始在中国产生影响,当代艺术家在面对当今社会文化开始了自己的反思,他们对这种快餐式的文化极具的感到不适应,社会的发展使艺术家在意识形态上处于社会的边缘,在自己越来越边缘化,意识形态与主流文化产生差异时,在他们的作品中深深的反映出了这种意识形态的悲观性。第四章着重论述了悲观主义对中国当代青年绘画的影响,90年代初期的艺术思潮相对于20世纪80年代来说,是一个正在转变的时期,这个时期的青年艺术家和当时大多数年轻人一样,陷入一种信仰危机之中,感到无所适从和精神困惑,在这一时期的艺术家中,他们都处于一种社会的边缘,他们感受着“悲伤”体会着青春带给他们对社会的“不适”,他们在这里不再关注社会政治,而是把注意力转向自身,他们更加关注社会带给自己的无名的伤害。第五章则是说明了悲观主义对中国当代青年绘画的意义,悲观主义不仅仅在思维领域、政治领域,而且也直接进入了文化领域和艺术领域。在中国的当代油画中,随着社会政治的改革进程,绘画作品的本身也在反映着这个社会的演变,从知青绘画(伤痕美术),新生代绘画,到青春残酷绘画,都能感受到社会的变革所带给艺术家在绘画创作中的反思。更多还原

【Abstract】 Pessimism in the West so far has been the development of two centuries, from Schopenhauer’s pessimism by the sublimation of Nietzsche to contemporary culture and to the prevalence of pessimism, we can not say that it’s rare, pessimism that life is filled with despair, the development of things and disappointment that the suppression of life, decadence and lack of creativity.In this paper, the first chapter of the pessimism in the West as well as the concept of social development and significance. Schopenhauer’s pessimism that in real life, people pursue happiness and satisfaction, but no. The so-called happiness and the enjoyment of the suspension only desire, desire is a kind of pain in the form of people has always been painful. Happiness is the desire to have been met, but desire to be met if the desire is no longer, it will have a terrible emptiness and boredom, the existence and survival itself will become an intolerable burden him.Although people try every possible means to avoid empty and meaningless, eliminate pain, but could not succeed because pain and emptiness of life is not boring occasional phenomenon, but the nature of life. Schopenhauer that happiness only negative, rather than positive. Nothing more than happiness or suffering from deficiencies in the liberation, but also inevitable after the liberation of the new pain. The majority of people’s life is so surrounded by the pain and emptiness.Although Nietzsche accepted the premise of Schopenhauer’s pessimism, they reached a completely opposite conclusion. Nietzsche’s will be classified as the root causes of the tragedy Dionysian spirit and Greek tragedy as an example to illustrate the birth of, in Nietzsche’s view, the original Greek mythology and religion in Greece, "Dionysus" is "life instinct" direct symbol Life is "impulse" life "passion" life "Desire" and life "will", the maximum symbolic.Nietzsche called "Dionysus" is "human life", the maximum symbol, in other words, Nietzsche’s Dionysian "of the life," it is the "humane" Hence, to say that the tragedy originated in the spirit of Dionysus mean that the tragedy of the origin of life and humanity.Chapter 2 outlines the pessimism on the impact of Western painting, Western painting pessimism in the development embodied in the 19th century and early 20th century, more high, in the first Van Gogh’s works reflect a pessimistic modal, and pessimism in the West genuine development in the 20th century, the climax of the first half of the performance, and in the performance of the painter works, they of social discontent, the anxiety of life are embodied in the head. Expressionism to the human suffering, poverty, violence and some deep sense of passion, they work in those lonely, panic-stricken people image, both by the performance of the early 20th century to the people’s concerns, but also be used on the performance of universal significance living conditions. These were the images of the art critic who was known as the "barbaric instinct" embodied - pornography, scream, laugh wildly.The third chapter describes the pessimism in China in the initial stage of China’s development process, the development of pessimism in China began in China during the Anti-Japanese liberation, but it is the upsurge in the development of today’s society, the early 1990s, China’s society high-speed economic growth and beyond ideological approach to social change, to a free market economy, urbanization, economic and transnational global culture, as well as high-speed economic growth in the material culture of China began to have an impact, in the face of today’s contemporary artists start their own social and cultural reflection on the culture of this very fast, it is felt that unfit and social development in the ideological artist at the margins of society in their own increasingly marginalized, ideology, and the mainstream culture have differences in their works reflect the deep pessimism of this ideology.ChapterⅣfocuses on the pessimism of China’s contemporary youth painting of the 1990s, the currents of thought of the art of the early 20th century to the 1980s, was a change in the period, this time when the majority of young artists and young people, caught in a crisis of faith, the spirit of confusion and perplexity, the artists during this period, they were at the brink of a social, they feel the "sadness" of the youth of the community give them the "discomfort", They no longer here in the social and political concern, but turn their attention to themselves, they are more concerned for unknown social bring them harm.Chapter 5 is that the pessimism on China’s contemporary youth painting the significance of pessimism is not thinking in the field, the political field but also direct access to the cultural and artistic fields. Contemporary painting in China, along with social and political reform process, the paintings themselves are reflected in the evolution of society, from school leavers painting (extinction art), the new generation of painting, painting cruel to youth, the community can feel changes caused by the creative artists painting in the reflection.更多还原