“物我合一”
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摘要
人与自然的关系是人类探讨的永恒主题,从绘画艺术角度出发,来思考人与自然关系,将这种关系体现在绘画作品中,这是风景画诞生的原因之一。油画风景写生本身就是一种艺术创造,写生的过程其实就是关注人与自然、人与社会的过程。由于每个人看风景时的心境不同、出发点不同,其艺术风格必然不同;即便是看同样的景物,所创造出的艺术形象也各具特色。虽然每个人创造出来的艺术形象是不同的,但是创作过程中有一样是一致的,即:创作中一定要融入主体的内心感受。只有融入了主体的内心感受的作品才更真实,更有利于表达事物的本质,才能达到艺术表现的高度,以至于达到人与自然“天人合一”、“物我合一”的境界。可见,主体的内心感受以及主体在艺术活动中的主宰地位,在艺术创作中有着如此重要的地位,作为一名学者,有必要对其作一个全面的分析和总结,以便于提高自己的艺术修养,这也正是该论文的选题原因。
本文试从艺术家的主体性入手,就艺术家在油画风景写生中的主体作用,分别从以下几个方面作了较为详细的阐述。首先,油画风景写生作为油画艺术宝库中一门独立的学科,它的发展及存在的意义。其次,举例说明油画风景写生中艺术家的主体作用及其艺术表现。第三,在人与自然交流的过程中艺术家主体起着重要的作用,主要表现为:(1)有利于世人对真实的理解和追求(2)有利于艺术家个性化的表现自我。最后,在整个艺术创作过程中,艺术家的艺术修养和情感对其起着决定性作用。因为艺术创作是一种特殊的精神生产,需要艺术家具有综合的修养作依托,包括深刻的思想修养、广博的文化修养、深厚的艺术才能修养,以及自然科学和社会科学等多方面的知识修养。艺术家在进行艺术创作时,不仅需要反映社会生活,更重要的是要对社会生活做出判断评价,把自己的情感融入艺术作品中,使作品具有强烈的艺术感染力。
The relationship of people and nature is the eternal subjects which the humanity discusses. Pondering that from the relationship of people and nature drawing art angle embarking and manifesting this kind of relations in the pictorial representation are one of the reasons why the landscape painting was born. To sketch the oil painting scenery is one kind of artistic creation. The process of sketching is a process to training the relation of people and nature, and the relation of people and art. Because each person has different moods and different starting point when they regard different scenery, artistic style is inevitably different. Even if they regard the same scenery, the artistic images they have created have their own characteristics. Although the artistic images are different, one thing during the creation process is an equally consistent, namely: the innermost feelings of the main body must be certainly integrated In the creation. Only when integrated innermost feelings of the main body, will these works of art be more real, will they be easy to express the essence of things, and will they achieve the altitude of artistic performance and finally achieve the boundary of human and the nature ---“Tian ren he yi”,“Wu wo he yi”obviously. Therefore, in the artistic creation, the innermost feelings of main body and the dominant status of main body in artistic activity are very important. As a scholar, in order to improve his artistic culture, he should make a comprehensive analysis and summary about them, which is the precise reason why the author select the topic in the paper.
In this article, the author studies with the main body innermost feelings of artists, and he makes several comprehensive expressions about the function of artists sketching oil painting scenery. At first, in the oil painting art treasury, as an independent discipline, the oil painting scenery sketch has a development and existence significance. In the next part, the author explains with examples the function of artists as the main body and the artistic performance of them in the oil painting scenery sketch. Thirdly, in the exchanging process of people and nature, the artists main body is playing the vital role and they mainly display as follows: (1) They are helpful for understanding and pursuing the real word to common people. (2) They are helpful for expressing their personalization to the artists. Finally, in the entire process of artistic creation, the artistic culture and emotion of the artists as main body are playing the decisive effect, because the artistic creation is a special spiritual production which needs the comprehensive culture to the artists, these culture conclude the profound ideological culture, the vast cultural education, the deep capacity of art creating, as well as the various knowledge training of the natural sciences and the social sciences and so on. When the artists carry on the artistic creation, they not only need to reflect the social life, but also need to make the judgment on the social life, and Integrate their own emotions to the works of art , which make the works of art have the intense power.
本文试从艺术家的主体性入手,就艺术家在油画风景写生中的主体作用,分别从以下几个方面作了较为详细的阐述。首先,油画风景写生作为油画艺术宝库中一门独立的学科,它的发展及存在的意义。其次,举例说明油画风景写生中艺术家的主体作用及其艺术表现。第三,在人与自然交流的过程中艺术家主体起着重要的作用,主要表现为:(1)有利于世人对真实的理解和追求(2)有利于艺术家个性化的表现自我。最后,在整个艺术创作过程中,艺术家的艺术修养和情感对其起着决定性作用。因为艺术创作是一种特殊的精神生产,需要艺术家具有综合的修养作依托,包括深刻的思想修养、广博的文化修养、深厚的艺术才能修养,以及自然科学和社会科学等多方面的知识修养。艺术家在进行艺术创作时,不仅需要反映社会生活,更重要的是要对社会生活做出判断评价,把自己的情感融入艺术作品中,使作品具有强烈的艺术感染力。
The relationship of people and nature is the eternal subjects which the humanity discusses. Pondering that from the relationship of people and nature drawing art angle embarking and manifesting this kind of relations in the pictorial representation are one of the reasons why the landscape painting was born. To sketch the oil painting scenery is one kind of artistic creation. The process of sketching is a process to training the relation of people and nature, and the relation of people and art. Because each person has different moods and different starting point when they regard different scenery, artistic style is inevitably different. Even if they regard the same scenery, the artistic images they have created have their own characteristics. Although the artistic images are different, one thing during the creation process is an equally consistent, namely: the innermost feelings of the main body must be certainly integrated In the creation. Only when integrated innermost feelings of the main body, will these works of art be more real, will they be easy to express the essence of things, and will they achieve the altitude of artistic performance and finally achieve the boundary of human and the nature ---“Tian ren he yi”,“Wu wo he yi”obviously. Therefore, in the artistic creation, the innermost feelings of main body and the dominant status of main body in artistic activity are very important. As a scholar, in order to improve his artistic culture, he should make a comprehensive analysis and summary about them, which is the precise reason why the author select the topic in the paper.
In this article, the author studies with the main body innermost feelings of artists, and he makes several comprehensive expressions about the function of artists sketching oil painting scenery. At first, in the oil painting art treasury, as an independent discipline, the oil painting scenery sketch has a development and existence significance. In the next part, the author explains with examples the function of artists as the main body and the artistic performance of them in the oil painting scenery sketch. Thirdly, in the exchanging process of people and nature, the artists main body is playing the vital role and they mainly display as follows: (1) They are helpful for understanding and pursuing the real word to common people. (2) They are helpful for expressing their personalization to the artists. Finally, in the entire process of artistic creation, the artistic culture and emotion of the artists as main body are playing the decisive effect, because the artistic creation is a special spiritual production which needs the comprehensive culture to the artists, these culture conclude the profound ideological culture, the vast cultural education, the deep capacity of art creating, as well as the various knowledge training of the natural sciences and the social sciences and so on. When the artists carry on the artistic creation, they not only need to reflect the social life, but also need to make the judgment on the social life, and Integrate their own emotions to the works of art , which make the works of art have the intense power.
引文
【1】(英国)贡布里希:“论艺术再现”.《美术译丛》.1985.1.
【2】宗白华译.欧美现代画派画论.桂林:广西师范大学出版社出版. 2002.5.
【3】贺西林、赵力主编.中国美术史简编.北京:高等教育出版社.2003.8.
【4】(意大利)利奥奈洛·文杜里.西欧近代画家.上海:上海人民美术出版社.1987.
【5】尼·雅任尔斯卡娅.巴比松派风景画.上海:上海人民美术出版社.1987.1.
【6】颜翔林.死亡美学.上海:学林出版社.1998.10.
【7】何政广.世界名画家全集--柯罗.河北教育出版社.1998.4
【8】(美国)欧文·斯通.渴望生活—凡高传.常涛译.北京出版社.1983.
【9】(美国)赫谢尔·B·奇普.塞尚、凡高、高更通讯录.吕澎译.广西师范大学出版社.2002.2
【10】(荷兰)凡高.亲爱的提奥—凡高对生活,艺术及未来的言说.平野译.南海出版社.2001.7.
【11】读书时代特别企划.凡高画传.长春:时代文艺出版社.2003.12.
【12】夏桂楣.艺术修养书.北京大学出版社.2007.12.
【13】(英国)里德著.艺术的真谛.王柯平译.北京:中国人民大学出版社.2004.4.
【14】(挪威)阿恩·爱格尤姆.国外现代画家译丛—蒙克.湖南美术出版社.1989.6.
【15】吴冠中.吴冠中画语录.北京:人民文学出版社.2009.9.
【16】吴冠中.丹青—吴冠中自传.北京:人民文学出版社.2004.6.
【17】约翰·伯格.观看之道.广西师范大学出版社.2005.1
【18】(美国)阿瑟·丹托.艺术的终结.江苏人民出版社.2005.1
【19】(德国)伊曼努尔·康德.判断力批判.人民出版社.2002.12
【20】罗岗,顾铮.视觉文化读本.广西师范大学出版社.2003.12
【21】宗白华.艺境.北京大学出版社.1997.9.
【22】李醒尘.十九世纪西方美学名著选.上海:复旦大学出版社. 1990.5
【23】苏珊·朗格.艺术问题.滕守尧等译.中国社会科学出版社.1983.
①引(英)贡布里希:“文艺复兴的美术理论和风景画的兴起”.《美术译丛》.1984.2.p31
②引(英)贡布里希:“论艺术再现”.《美术译丛》.1985.1.p2
③引宗白华译.《欧美现代画派画论》.桂林.广西师范大学出版社出版. 2002.5.p9
①引贺西林、赵力.《中国美术史简编》.北京:高等教育出版社.2003.8.p263
②同上:p283
③同上:p100
①引夏桂楣.《艺术修养书》.北京大学出版社.2007.12.p128
①引何政广.世界名画家全集--柯罗.河北教育出版社.1998.4.p31
②引(意大利)利奥奈洛·文杜里.西欧近代画家.上海:上海人民美术出版社.1987.p2
①引夏桂楣.《艺术修养书》.北京大学出版社.2008.1.p127
①引(美国)欧文·斯通.渴望生活—凡高传.常涛译.北京出版社.1983.p79
②引(美国)赫谢尔·B·奇普.塞尚、凡高、高更通讯录.吕澎译.广西师范大学出版社.2002.2.p35
①引(荷兰)凡高.亲爱的提奥—凡高对生活,艺术及未来的言说.平野译.南海出版社.2001.7.p30
②同上.p34
①引(美国)欧文·斯通.渴望生活—凡高传.常涛译.北京出版社.1983.p23
②同上:p45
③读书时代特别企划.《凡高画传》.长春:时代文艺出版社,2003.12.p102
①引(挪威)阿恩·爱格尤姆.国外现代画家译丛—蒙克.湖南美术出版社.1989.6.p3
①引颜翔林.死亡美学.上海:学林出版社.1998.10.p81
①引吴冠中.丹青—吴冠中自传.北京:人民文学出版社.2004.6.p2
①引(苏)普塞柯夫《巴尔扎克》.马柯译.北京:新文艺出版社.1957.p103
②引(苏)列宁《哲学笔记》.中共中央马克思恩格斯列宁斯大林著作编译局译.北京:人民出版社.1998.p98
①引毛泽东《延安文艺座谈会上的讲话》.载《毛泽东选集》第三卷.北京:人民出版社.1991.p213
①引鲁迅.《鲁迅全集》第一卷.北京:人民文学出版社.1981.p330
①引夏桂楣.《艺术修养书》.北京大学出版社.2008.1.p67
②引顾平主编.《艺术概论教程》.沈阳:辽宁美术出版社.2008.7.p86、p88
①引夏桂楣.《艺术修养书》.北京大学出版社.2008.1.p75
①引李醒尘.十九世纪西方美学名著选.上海:复旦大学出版社.1990.5.p100
②引苏珊·朗格.艺术问题.滕守尧等译.中国社会科学出版社.1983.p43、p51
【2】宗白华译.欧美现代画派画论.桂林:广西师范大学出版社出版. 2002.5.
【3】贺西林、赵力主编.中国美术史简编.北京:高等教育出版社.2003.8.
【4】(意大利)利奥奈洛·文杜里.西欧近代画家.上海:上海人民美术出版社.1987.
【5】尼·雅任尔斯卡娅.巴比松派风景画.上海:上海人民美术出版社.1987.1.
【6】颜翔林.死亡美学.上海:学林出版社.1998.10.
【7】何政广.世界名画家全集--柯罗.河北教育出版社.1998.4
【8】(美国)欧文·斯通.渴望生活—凡高传.常涛译.北京出版社.1983.
【9】(美国)赫谢尔·B·奇普.塞尚、凡高、高更通讯录.吕澎译.广西师范大学出版社.2002.2
【10】(荷兰)凡高.亲爱的提奥—凡高对生活,艺术及未来的言说.平野译.南海出版社.2001.7.
【11】读书时代特别企划.凡高画传.长春:时代文艺出版社.2003.12.
【12】夏桂楣.艺术修养书.北京大学出版社.2007.12.
【13】(英国)里德著.艺术的真谛.王柯平译.北京:中国人民大学出版社.2004.4.
【14】(挪威)阿恩·爱格尤姆.国外现代画家译丛—蒙克.湖南美术出版社.1989.6.
【15】吴冠中.吴冠中画语录.北京:人民文学出版社.2009.9.
【16】吴冠中.丹青—吴冠中自传.北京:人民文学出版社.2004.6.
【17】约翰·伯格.观看之道.广西师范大学出版社.2005.1
【18】(美国)阿瑟·丹托.艺术的终结.江苏人民出版社.2005.1
【19】(德国)伊曼努尔·康德.判断力批判.人民出版社.2002.12
【20】罗岗,顾铮.视觉文化读本.广西师范大学出版社.2003.12
【21】宗白华.艺境.北京大学出版社.1997.9.
【22】李醒尘.十九世纪西方美学名著选.上海:复旦大学出版社. 1990.5
【23】苏珊·朗格.艺术问题.滕守尧等译.中国社会科学出版社.1983.
①引(英)贡布里希:“文艺复兴的美术理论和风景画的兴起”.《美术译丛》.1984.2.p31
②引(英)贡布里希:“论艺术再现”.《美术译丛》.1985.1.p2
③引宗白华译.《欧美现代画派画论》.桂林.广西师范大学出版社出版. 2002.5.p9
①引贺西林、赵力.《中国美术史简编》.北京:高等教育出版社.2003.8.p263
②同上:p283
③同上:p100
①引夏桂楣.《艺术修养书》.北京大学出版社.2007.12.p128
①引何政广.世界名画家全集--柯罗.河北教育出版社.1998.4.p31
②引(意大利)利奥奈洛·文杜里.西欧近代画家.上海:上海人民美术出版社.1987.p2
①引夏桂楣.《艺术修养书》.北京大学出版社.2008.1.p127
①引(美国)欧文·斯通.渴望生活—凡高传.常涛译.北京出版社.1983.p79
②引(美国)赫谢尔·B·奇普.塞尚、凡高、高更通讯录.吕澎译.广西师范大学出版社.2002.2.p35
①引(荷兰)凡高.亲爱的提奥—凡高对生活,艺术及未来的言说.平野译.南海出版社.2001.7.p30
②同上.p34
①引(美国)欧文·斯通.渴望生活—凡高传.常涛译.北京出版社.1983.p23
②同上:p45
③读书时代特别企划.《凡高画传》.长春:时代文艺出版社,2003.12.p102
①引(挪威)阿恩·爱格尤姆.国外现代画家译丛—蒙克.湖南美术出版社.1989.6.p3
①引颜翔林.死亡美学.上海:学林出版社.1998.10.p81
①引吴冠中.丹青—吴冠中自传.北京:人民文学出版社.2004.6.p2
①引(苏)普塞柯夫《巴尔扎克》.马柯译.北京:新文艺出版社.1957.p103
②引(苏)列宁《哲学笔记》.中共中央马克思恩格斯列宁斯大林著作编译局译.北京:人民出版社.1998.p98
①引毛泽东《延安文艺座谈会上的讲话》.载《毛泽东选集》第三卷.北京:人民出版社.1991.p213
①引鲁迅.《鲁迅全集》第一卷.北京:人民文学出版社.1981.p330
①引夏桂楣.《艺术修养书》.北京大学出版社.2008.1.p67
②引顾平主编.《艺术概论教程》.沈阳:辽宁美术出版社.2008.7.p86、p88
①引夏桂楣.《艺术修养书》.北京大学出版社.2008.1.p75
①引李醒尘.十九世纪西方美学名著选.上海:复旦大学出版社.1990.5.p100
②引苏珊·朗格.艺术问题.滕守尧等译.中国社会科学出版社.1983.p43、p51