【作者】 魏华；

【导师】 王彦发； 马新宇； 袁汝波；

【作者基本信息】 河南大学 ， 美术学， 2002， 硕士

【摘要】 著名画家陈洪绶和伦勃朗两人有着相类的艺术经历，饱满激越的艺术热情，他们在艺术领域做出了卓越贡献，尤其是在市民文化的传播——版画的创作中都起到了重要作用，中国在十六世纪末出现了资本主义萌芽，陈洪绶对民间美术给予了特别的关注，内容寄托了关心国事民生的情感，歌颂了具有反封建意义的水浒英雄和西厢人物，在美术史上留下了不朽的声誉。而此时的荷兰，已成功地完成了第一次资产阶级革命，同陈洪绶一样，伦勃朗的艺术不仅为上层社会服务，作为一个以人民的解放的思想营养自己的画家，他的作品表现出对普通人的关注，对周围现实的反抗。伦勃朗是腐蚀铜版画伟大的先驱，他的作品被置于世界版画艺术宝库最光辉的作品之列。然而从两位大师的艺术观入手，着眼于他们自身的文化定位，可以看到二人艺术内涵和人格特征的差异。他们差异的研究主要从以下几个方面入手：一是不同的文化历史背景对他们人格的影响。陈洪绶身上呈现着中国文人画家的典型矛盾，虽在绘画上天资绝伦，然而他不愿意放弃仕途上的抱负。陈洪绶的“叛逆”源起于他自我文化定位与社会定位的矛盾。文化造诣对一个古代西方画家的意义，与中国古代文人士大夫画家的意义不同。伦勃朗在他的绘画生涯中从未透露出他对自身画家地位的不满。他对现实的态度更为认真、负责，他的“叛逆”指向是明确的，就是他坎坷的人生经历和错综复杂的世道人心，以及阴冷、败颓的政治现实。所以在一定意义上，伦勃朗具有一种积极的、批判的人格特征；二是不同的人格特征和心理内涵导致了二人艺术品质的显著差异，陈洪绶和伦勃朗有着各自鲜明、独特的艺术个性；三是联系历史文化背景，把他们作为历史的人来考察，看他们“悲剧”的一生，寻找二人的“叛逆”的差异；四是比较伦勃朗，陈洪缓的“叛逆”则有着更多一些来自性格方面的原因。陈洪绥的“叛逆”是画家的“叛逆”，即以浪漫的形式、风格和夸张的创作手法所获取的艺术创作自由，而伦勃朗的“叛逆”所获取的是更为纯正、直接的审美理想的自出。当历史不断推移渐进，“叛逆”对于两位艺术大师来说具有文化选择上的合理性，也可以把它看作一种历史的合理批判与检讨。更多还原

【Abstract】 Through doing textual research into two famous painters Cheng Hongshou and Rembrandt’ s lives and related art career, admits their outstanding achievements in art field, especially their important role in the transmission of urban culture梡rint creation. In China of the late 16th century where bourgeois bud appeared, Cheng Hongshou paid special heed to rural art, which contains the feeling of concerning nation and the people, sings highly for anti-feudal figures in the Outlaws of the Marsh and Xi Xiang, and leaves the immortal fame in the history of art, while Holland in this age had accomplished the 1st bourgeois revolution, like Cheng Hongshou and Rembrandt’ s works not only serve the upper-class society, but as a painter nourished by the thought of the people’ s liberation, his paintings display his concern about common people and his protest against the reality around. Rembrandt is a great pioneer of copperplate etching, and his works have been placed on the list of the world’ s most splendid print.Focusing on the personality characteristics and psychological connotation, begins with the artistic view of them two, and from their own cultural location, infers the differences between artistic connotations and personality characteristics. The research of this aspect is carried out from the following points: one is what influence the different cultural historical backgrounds have on their personality. Deeply rooting in the soil of Chinese traditional culture, Cheng Hongshou represents the typical contradiction of a Chinese intellectual and painter, i.e. although he has extraordinary talents in painting, he is reluctant to give up the ambition for an official position. His rebel originates from the contradiction between his own cultural location and social location. The significance of cultural attainment to an ancient westernpainter is different from that to an ancient Chinese official painter. Rembrandt never shows his dissatisfaction with his painter position. His attitude toward reality is more serious and more responsible, and examining all his life, it is found out that the direction of his rebel is explicit, namely, his real cultural experience, or specifically, his rough life experience and the complex world as well as cold corrupted political reality. Therefore, in some sense, Rembrandt has a kind of active critical personality characteristics; the second point is that different personality characteristics and psychological connotations result in the obvious differences in artistic qualities. This part mainly discusses their clear distinctive artistic traits respectively; the third point, relating their historical cultural background and having them be examined as people.in particular history, seeks the differences between their rebels; the fourth point points out, compared with Cheng Hongshou, Rembrandt’ s rebel has more reasons from characters. Cheng Hongshou’ s rebel is the rebel of a painter, i. e. the freedom of art creation gained through romantic forms, styles and exaggerated creative ways, whereas what Rembrandt’ s rebel has gained is even purer, direct freedom of aesthetic ideal. The rest two points seeks appropriate reasons for artistic personality and psychology, and distinguishes romantic quality from romantic creative methods.As the history is going on, rebel to two artists, as a matter of fact, has reasonability of cultural choice, and even, this kind of rebel can be regarded as a kind of reasonable criticism and self-criticism of history.更多还原