“写意性”与中国传统绘画
摘要
随着现代艺术的发展,各种艺术形式越来越强调情绪化的个人体验和内在精神的意象表述,凭借一定的艺术形态去叙述作者的内在思想感情和心理状态。“写意”即是强调注重主体内在精神意象的表述,注重“神”“气”的完善。“写意精神”是中国艺术的灵魂。第一章从工笔画入手:造型力求“似与不似”,“随类赋彩”到“随意赋彩”,构图是全方位的观察方式,整体的“气韵生动”,根据以上几方面特点可以得出这样的结论,即工笔画也是具有“写意性”的。
第二章分析艺术形态产生所依据的文化土壤,即原始思维与原始思维下的审美观。“天人合一”的理念显示出原始艺术、民间艺术、传统绘画三者是有内在联系的。这就是“写意精神”——是具有传承性的.原始艺术的“线”性特征发展成传统绘画的重要特征。原始艺术的典型例证彩陶艺术,就是“线”艺术的经典之作。原始艺术造型的大胆写意在传统绘画中的体现就是“得意忘形”。
第三章以民间美术作品中的苗绣为例,苗族没有纯绘画性艺术,但其众多的艺术形态不得不让人惊叹。在这其中,苗族服饰又更加眩目多彩。刺绣图案中虚幻与具象,囿定与自由,写实与意象常常交织在一起。造型大胆夸张,重点突出某个局部,其它部位可以忽略,或是人、神、兽同处于一个画面,其浪漫的手法让今人也不得不佩服。这不的艺术处理确又真真切切从现实生活中来,都有生活中的原型。苗族人民凭借画面中的形象表达自己的情绪和对生活的热爱,是出于主观需要再造出来的基于自然物象基本特征的新形象,也是“写意性”特征鲜明的艺术作品。苗绣与传统绘画艺术形态不同,艺术处理手法却有异曲同工之妙。造型处理同样采用的是夸张、变形手法,颜色处理也是“随类赋彩”。两者在“写意精神”上是共通的。
“写意性”在现代绘画中又是怎样体现和发展的?分析苗绣中人物的“写意”造型,通过周思聪的绘画作品来分析“写意性”在现代绘画中的体现。笔者通过自身创作对工笔画的“写意性”有了进一步了解。
从某种意义上说,艺术就是情绪的表达和有意味的形式。不同的艺术形态,追求的是同样的“似与不似”,传达给观众的是心灵的慰籍和情感的共鸣。因此,探寻在苗族刺绣艺术、原始艺术和传统绘画等形态中的意象表达规律,对于准确把握写意性在艺术形态中的发展脉络,对于在现代绘画抑或现代艺术中体现传统文化和彰显民族精神,都是很有裨益的。
The "comfortable" makes a point of to say to the watch of the inside spirit in corpus intention, borrowing the certain appearance describe own inside thought affection, mental state appearance, make a point of the " soul" and "spirit" perfect.The "comfortable spirit" is the soul of the Chinese art. Chapter 1 discuss the classic delicate strokes draws, concrete now in the delicate strokes painting, from everywhere to analyze.The shape tries hard for the " with not it", the " with a colourful" arrives the " as one's pleases colourful ", composition is concrete that all-directions observational way, overall" flavor vivid" this is everywhere is a "comfortable" now. Both Gu kaizhi and Chen laolian' works analyze, the development that Chinese delicate strokes painting is an idea that set out from the a to express the corpus consciousness self-conscious. It is a result that" comfortable" develop along with the ages makes many differences.
Analyze again the art appearance creation a culture for according to soil, primitive thought and esthetic sense two aspects of the primitive thought bottom," the nature and man unites as one" of the principle comes to a decision the primitive art, folks art, traditional painting three is what have the inside contact. This is the " comfortable spirit"—is to have to spread to accept sexual. The primitive art is the art of the ancient, is all the sources of the art head and mother. A development of the primitive art from" upper level art" that a handful of men control, namely traditional race art.Another develops in largely labor people crowd folks art. The " line" characteristic development of the primitive art the important characteristic of the traditional painting.The typical model instance painted pottery art of the primitive art is the classic of the " line" art it make. Primitive art shape of the brave is comfortable in the traditional in the painting now be" vivid portrayal theory" that" be dizzy with success" that last development in foundation, Chinese traditional painting be at inherited the primitive art" comfortable" since then. "comfortable" is in modern painting again and how dose it develop?
Chapter 3 takes the folks seedling art in the work embroidery as an example, the seedling race has no pure painting art, but the numerous of art appearance have to let person marveling! Here among them, the seedling race dress is much more charming. Embroidery pattern the inside is vain with have the elephant, the caught settles with freedom, realistic is usually with idea the intertexture is together.The shape brave piles it on, outstanding and a certain part in point, the other part can abridge, the person, god and Beast is placed in a picture together. Its romantic skill make people admire it ! This very the art of the view is invented from realistic living, the prototype that all have the life the inside. Seedling the person borrows image in the appearance expression own motion, to life of craze about. This comes from the subjective demand but give a new life out of according to the new image of the basic characteristic in elephant in thing in nature, is a fresh and clear art in characteristic in "comfortable" work. The seedling is different from traditional painting art appearance, the art handles however the skill has different in approach but equally good and wonderful. The shape same and adoptive is to piles it on, transform, the color handles is all also a " with a colourful ". Both of them are the same in "comfortable spirit".
Analyze the seedling embroidery middleman thing of "comfortable" shape, pass the painting work thought from Zhou sicong' art to analyze "comfortable" about the modern painting. The research using the method of the "line" have to out the Chinese art in conduct and actions in " comfortable spirit" the most important appreciate beauty the principle is to pierced through these three greatest systems.Passed oneself's artistic" comfortable" that draw to have the further understanding to the delicate strokes.
Say from a certain meaning, art be in the mood for flavor that motion that expression with form.Different art appearance, pursue of is same kind that" with not" that console , is a mind to audience with affective totally resonant .
Therefore, explore in seedling race embroidery art, primitive art with traditional painting etc. intention in the appearance expression regulation, to the accurate full with confidence comfortable in the art development in the appearance grain, for painting in now perhaps now art now traditional culture with make open the ethos, is all to have the benefit very much.
第二章分析艺术形态产生所依据的文化土壤,即原始思维与原始思维下的审美观。“天人合一”的理念显示出原始艺术、民间艺术、传统绘画三者是有内在联系的。这就是“写意精神”——是具有传承性的.原始艺术的“线”性特征发展成传统绘画的重要特征。原始艺术的典型例证彩陶艺术,就是“线”艺术的经典之作。原始艺术造型的大胆写意在传统绘画中的体现就是“得意忘形”。
第三章以民间美术作品中的苗绣为例,苗族没有纯绘画性艺术,但其众多的艺术形态不得不让人惊叹。在这其中,苗族服饰又更加眩目多彩。刺绣图案中虚幻与具象,囿定与自由,写实与意象常常交织在一起。造型大胆夸张,重点突出某个局部,其它部位可以忽略,或是人、神、兽同处于一个画面,其浪漫的手法让今人也不得不佩服。这不的艺术处理确又真真切切从现实生活中来,都有生活中的原型。苗族人民凭借画面中的形象表达自己的情绪和对生活的热爱,是出于主观需要再造出来的基于自然物象基本特征的新形象,也是“写意性”特征鲜明的艺术作品。苗绣与传统绘画艺术形态不同,艺术处理手法却有异曲同工之妙。造型处理同样采用的是夸张、变形手法,颜色处理也是“随类赋彩”。两者在“写意精神”上是共通的。
“写意性”在现代绘画中又是怎样体现和发展的?分析苗绣中人物的“写意”造型,通过周思聪的绘画作品来分析“写意性”在现代绘画中的体现。笔者通过自身创作对工笔画的“写意性”有了进一步了解。
从某种意义上说,艺术就是情绪的表达和有意味的形式。不同的艺术形态,追求的是同样的“似与不似”,传达给观众的是心灵的慰籍和情感的共鸣。因此,探寻在苗族刺绣艺术、原始艺术和传统绘画等形态中的意象表达规律,对于准确把握写意性在艺术形态中的发展脉络,对于在现代绘画抑或现代艺术中体现传统文化和彰显民族精神,都是很有裨益的。
The "comfortable" makes a point of to say to the watch of the inside spirit in corpus intention, borrowing the certain appearance describe own inside thought affection, mental state appearance, make a point of the " soul" and "spirit" perfect.The "comfortable spirit" is the soul of the Chinese art. Chapter 1 discuss the classic delicate strokes draws, concrete now in the delicate strokes painting, from everywhere to analyze.The shape tries hard for the " with not it", the " with a colourful" arrives the " as one's pleases colourful ", composition is concrete that all-directions observational way, overall" flavor vivid" this is everywhere is a "comfortable" now. Both Gu kaizhi and Chen laolian' works analyze, the development that Chinese delicate strokes painting is an idea that set out from the a to express the corpus consciousness self-conscious. It is a result that" comfortable" develop along with the ages makes many differences.
Analyze again the art appearance creation a culture for according to soil, primitive thought and esthetic sense two aspects of the primitive thought bottom," the nature and man unites as one" of the principle comes to a decision the primitive art, folks art, traditional painting three is what have the inside contact. This is the " comfortable spirit"—is to have to spread to accept sexual. The primitive art is the art of the ancient, is all the sources of the art head and mother. A development of the primitive art from" upper level art" that a handful of men control, namely traditional race art.Another develops in largely labor people crowd folks art. The " line" characteristic development of the primitive art the important characteristic of the traditional painting.The typical model instance painted pottery art of the primitive art is the classic of the " line" art it make. Primitive art shape of the brave is comfortable in the traditional in the painting now be" vivid portrayal theory" that" be dizzy with success" that last development in foundation, Chinese traditional painting be at inherited the primitive art" comfortable" since then. "comfortable" is in modern painting again and how dose it develop?
Chapter 3 takes the folks seedling art in the work embroidery as an example, the seedling race has no pure painting art, but the numerous of art appearance have to let person marveling! Here among them, the seedling race dress is much more charming. Embroidery pattern the inside is vain with have the elephant, the caught settles with freedom, realistic is usually with idea the intertexture is together.The shape brave piles it on, outstanding and a certain part in point, the other part can abridge, the person, god and Beast is placed in a picture together. Its romantic skill make people admire it ! This very the art of the view is invented from realistic living, the prototype that all have the life the inside. Seedling the person borrows image in the appearance expression own motion, to life of craze about. This comes from the subjective demand but give a new life out of according to the new image of the basic characteristic in elephant in thing in nature, is a fresh and clear art in characteristic in "comfortable" work. The seedling is different from traditional painting art appearance, the art handles however the skill has different in approach but equally good and wonderful. The shape same and adoptive is to piles it on, transform, the color handles is all also a " with a colourful ". Both of them are the same in "comfortable spirit".
Analyze the seedling embroidery middleman thing of "comfortable" shape, pass the painting work thought from Zhou sicong' art to analyze "comfortable" about the modern painting. The research using the method of the "line" have to out the Chinese art in conduct and actions in " comfortable spirit" the most important appreciate beauty the principle is to pierced through these three greatest systems.Passed oneself's artistic" comfortable" that draw to have the further understanding to the delicate strokes.
Say from a certain meaning, art be in the mood for flavor that motion that expression with form.Different art appearance, pursue of is same kind that" with not" that console , is a mind to audience with affective totally resonant .
Therefore, explore in seedling race embroidery art, primitive art with traditional painting etc. intention in the appearance expression regulation, to the accurate full with confidence comfortable in the art development in the appearance grain, for painting in now perhaps now art now traditional culture with make open the ethos, is all to have the benefit very much.
引文
[1]许慎:徐铉校对,《说文解字》上海:上海教育出版社,2003.
[2]王弼:《周易略例·明象》就是在艺术构思活动中,外物形象和诗人的情思是结合在一起的。这是“意象”作为美学范畴第一次出现。
[4]顾恺之,字长康,小名虎头。晋陵无锡(今江苏无锡)人。传世论画著作有《论画》、《魏晋胜流画赞》、《画云台山记》三篇。
[5]李一著:中国古代美术批评史纲M.哈尔滨:黑龙江美术出版社,2003年.
[6]《古画品录》原名应是《画品》,成书时间大约在梁元帝承圣年间(552-553),即在梁代末年。见丁羲元:《谢赫古画品>的再认识》,栽于《中国书画研究》第四期(1983年)
[6]“气韵生动”所以放在“六法”的首位而不是放在“六法”之尾,就因为它是通贯六法的总原则、总要求,是其贯通五法的依据。其他五法之所以能够达到“气韵生动”的最后效果,正是因为画家首先遵循了“气韵生动”的原则和要求的结果。参看鲁慕迅:《谈中国画中的气》(载《美术》月刊1982年第10期、第11期)。该文对“气韵生动”作了详细的解释和发挥,颇具胜义。
[1]同上
[2]《石涛画语录》之《山川章第八》人民美术出版社
[3]同②、③
[4]《淮南子·精神训》
[5]“传神写照”是东晋大画家顾恺之(约346-约407)提出的一个重要命题。在美学史、艺术史上的影响是很大的。
[6]《艺概·书概》上海古籍出版社
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[8]宗白华:《美学散步》上海人民出版社,1981年版
[1](“境”作为美学范畴,最早出现在王昌龄的《诗格》。意境说的“意境”,是一种特定的审美意象。是“意”(艺术家的情感)与“境”(包括王昌龄说的“物境”、“情境”、“意境”)的契合。)参看叶朗.中国美学史大纲.上海人民出版社,2003年版.
[2]《艺概·文概》上海古籍出版社
[3](清)笪重光著,吴思雷注.画荃[专著]成都;四川人民出版社,1982年版.
[1]宗白华:《美学散步》上海人民出版社,1981年版
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[2]王弼:《周易略例·明象》就是在艺术构思活动中,外物形象和诗人的情思是结合在一起的。这是“意象”作为美学范畴第一次出现。
[4]顾恺之,字长康,小名虎头。晋陵无锡(今江苏无锡)人。传世论画著作有《论画》、《魏晋胜流画赞》、《画云台山记》三篇。
[5]李一著:中国古代美术批评史纲M.哈尔滨:黑龙江美术出版社,2003年.
[6]《古画品录》原名应是《画品》,成书时间大约在梁元帝承圣年间(552-553),即在梁代末年。见丁羲元:《谢赫古画品>的再认识》,栽于《中国书画研究》第四期(1983年)
[6]“气韵生动”所以放在“六法”的首位而不是放在“六法”之尾,就因为它是通贯六法的总原则、总要求,是其贯通五法的依据。其他五法之所以能够达到“气韵生动”的最后效果,正是因为画家首先遵循了“气韵生动”的原则和要求的结果。参看鲁慕迅:《谈中国画中的气》(载《美术》月刊1982年第10期、第11期)。该文对“气韵生动”作了详细的解释和发挥,颇具胜义。
[1]同上
[2]《石涛画语录》之《山川章第八》人民美术出版社
[3]同②、③
[4]《淮南子·精神训》
[5]“传神写照”是东晋大画家顾恺之(约346-约407)提出的一个重要命题。在美学史、艺术史上的影响是很大的。
[6]《艺概·书概》上海古籍出版社
[7]司空图:《与极浦书》,《司空表圣文集》卷三。
[8]宗白华:《美学散步》上海人民出版社,1981年版
[1](“境”作为美学范畴,最早出现在王昌龄的《诗格》。意境说的“意境”,是一种特定的审美意象。是“意”(艺术家的情感)与“境”(包括王昌龄说的“物境”、“情境”、“意境”)的契合。)参看叶朗.中国美学史大纲.上海人民出版社,2003年版.
[2]《艺概·文概》上海古籍出版社
[3](清)笪重光著,吴思雷注.画荃[专著]成都;四川人民出版社,1982年版.
[1]宗白华:《美学散步》上海人民出版社,1981年版
[1]贡布里希著.范景中译,艺术发展史.天津人美出版社,1998.第七章
[2]袁宏道.袁中郎全集[专著]上海:中国图书馆出版部,1935.卷三叙陈正甫会心集
[1]路先·列维·布留尔.原始思维《M》丁由译北京:商务印书馆,1986.
[1][德]W.沃林格《抽象与移情》,辽宁人民出版社1987年版。
[2]罗丹艺术哲学[M]北京:人民文学出版社,1963,32
[3][奥]恩斯特·托赫.旋律学[M]北京:人民音乐出版社,1984年
[1]罗伯特·L·赫伯特.现代艺术大师论艺术(林森,辛丽译)南京:江苏美术出版社,1994.
[1]张朋川.彩陶艺术纵横谈美术1983
[1]杨绢国.龙、鸟、牛--苗族图腾崇拜三题,贵州社会科学1992.(1)
[2]邓启耀.民族服饰--一种文化符号.云南人民出版社,1991.
[1]参见《苗族社会历史调查(一)》第283-284页。贵州民族出版社,1986年12月版。
[1]《苗族的宗教艺术》,载《美术参考》,1987年第一期
[1]王伯敏.中国绘画通史.上海:三联书店,2000.
[2]叶朗.中国美学史大纲.上海:上海人民出版社出版,2003.213
[3]中国美学史资料选编.北京大学哲学系美学教研室编.北京:中华书局,1985.9.
[4]中国美学史资料选编.北京大学哲学系美学教研室编.北京:中华书局,1985.
[5]中国美学史资料选编.北京大学哲学系美学教研室编.北京:中华书局.1985.138,
[6]郑远景.从中国古代写意的审美原则看戏曲的写意性.戏剧理论纵横,2006,8(279)
[7]中国古代美学艺术论文集.复旦大学中文系文艺理论教研室编.上海:上海古籍出版社,1981,8,8.
[8]宗白华.美学散步.上海:上海人民出版社,1997.
[9]顾生岳.工笔人物画.天津:天津人民美术出版社,1994.
[10]杨钢.“线”的魅力--浅谈中国工笔人物画的用笔.东方艺术
[11]黄培杰.经典性与工笔人物画.理论探讨
[12]沈叔羊.谈中国画.人民美术出版社,1960,10,25
[13]陈铮.中国人物画造型的趣味性.南京艺术学院学报,2000,04.
[14]刘菊亭.论工笔花鸟画的意象色彩.华侨大学学报,2006,02.
[15]游江滨.文人画的发生发展及其内涵变化.艺术理论.2007.
[16]张丽波.文人画琐谈.美术大观,2007,01.
[17]路明.陈老莲的人物画[M]长沙:南京美术出版社,1986.
[18]靳晓日.怪诞之美--陈老莲的人物画.湘潭师范学院学报.2001,.23(4)
[19]谢军.顾恺之到陈老莲--论工笔人物画从客体出发的意象表现到主观认识的自觉.南京艺术学院学报.2005.01
[20]左汉中.中国民间美术造型.湖南美术出版社.2006,249-250.
[21]黄燕.浅析原始艺术精神在民间美术中的体现.广西艺术学院学报,2007,2,21(1)
[22]张晓凌.中国原始造型艺术观念及审美特征.
[23]左汉中.中国民间美术造型.湖南美术出版社,2006,58-60。
[24]陈龙海.原始艺术的“线”性特征.华中师范大学学报,2002,5,41(3)
[25]乔今.论原始艺术与民间艺术的相似性 时代经贸2007.5,(63)
[26]孔智光.论原始艺术的神秘美性质.东岳论丛2002.23(4)
[27]朱狄.原始文化研究.上海:三联书店,1988
[28]田茂军.锉刀下的风景--湘西苗族监制的文化探寻.贵州民族出版社,2002,152-53
[29]田鲁.艺苑奇葩--苗族刺绣艺术解读.合肥工业大学出版社2006.25-27
[30]田茂军.锉刀下的风景--湘西苗族监制的文化探寻.贵州民族出版社,2002,177-178
[31]安正康等,贵州少数民族民间美术.贵州人民出版社,1992,31.
[32]杨正文.苗族服饰文化.贵州人民出版社,1998.
[33]左汉中.中国民间美术造型.湖南美术出版社,2006,249-250.
[34]田鲁.艺苑奇葩--苗族刺绣艺术解读.合肥工业大学出版社.2006.29-31
[35]左汉中.中国民间美术造型..湖南美术出版社,2006,284-287.
[36]蒙甘露.苗族刺绣艺术的意蕴.中央民族大学学报,1995,6.
[37]向思楼.论中国民间美术意象结构的审美特征.西南民族学院学报.2003,2,24(2)
[38]陈爱萍.从写实主义到表现主义--浅析周思聪水墨人物画的风格演进.国画家.2006(3)
[39]郎绍君.周思聪的绘画历程.美术研究.1996(3)