油画色彩语言的精神表现性
摘要
色彩语言作为油画艺术中重要的表现手段,已成为美学范畴内独特的审美元素。油画色彩语言经过各种审美思潮、绘画流派、个人风格及表现手法等载体展现出来后,立刻变得使人眼花缭乱。本文通过对现代美术产生之前西方美术史上各个历史时期进行缜密的分析,研究色彩功能和色彩造型规律的发展,进而寻找到色彩语言在发展过程中的演变脉络。
科学的研究西方绘画中的色彩演变及应用历史,需要从西方的人文精神和西方绘画的形式语言两个基本角度入手,“精神派生语言”,色彩语言在整个绘画领域中的每一个历史时期,都有着因观念的改变而丰富的应用手段。从古典绘画到后印象主义,油画色彩语言经历了一个相当长的蜕变过程,从最初的模拟自然到发现自身的精神价值,从由外部摹写向内心深入发展,色彩也在绘画语言中完成了从辅助到主体的功能过渡。
文章通过三个部分,对西方美术史上从文艺复兴到后印象主义几个世纪以来的时代精神和艺术思潮进行了分析和概括,总结了油画色彩语言在发展过程中的几次重大转变。第一部分试述在古典绘画中体现出的理性概念色彩,以及其相应的艺术形式色彩语言的依附性再现。自古希腊开始,哲学家和艺术家把艺术归结为“理念”的显现以及对现实世界的模仿,艺术就围绕着理性与再现建立起一个相对完整的体系。文艺复兴及其之后的古典油画艺术,把古希腊人本主义、理性至上与时代科学精神相结合,经历了对古希腊罗马艺术复兴的三次高潮,即开始于14世纪的文艺复兴运动对写实绘画语言模式的科学化,17世纪的普桑主义导致学院规范的诞生,到开始于18世纪下半叶的第三次古典主义复兴,建构和完善了西方古典理性再现油画语言体系。画家们借助于透视学、解剖学、光线的投影规律,对形体的写实发挥得准确详尽,而色彩语言在这一理性再现体系中却发展缓慢,仅作为辅助素描关系来表现画面气氛的手段,艺术语言上概念化、表现手法上程式化,大多是对物体的固有色相作明度的推移变化,而不追求不同环境下色相的冷暖变化及环境色之间的相互影响。
第二部分试述在印象主义和新印象主义绘画中体现出的理性感官色彩,以及其相应的艺术形式色彩语言的独立性再现,这一时期的再现写实油画由形体写实转换到色彩写实的艺术轨道上,色彩语言作为独立的绘画要素,在画面中起决定性作用。理论上,画家们以自然科学中的光学理论为指导,对色彩在绘画与实际景象之间的内在联系进行理性的分析,科学的表现;表达上,对“瞬间印象”的追求,又更加适宜于传达绘画者的内在感受与直观印象,并且这种感官印象也是因人而异而带有一定主观性的。印象主义画家通过对光色的如实摹写,表达了对客观色彩的内心感受,完成了对客观物象的超越,将旨在表现视觉真实的写实绘画发展到了极致,在绘画色彩上走上了客观再现的顶峰
第三部分试述在后印象主义绘画中体现出的感性意识色彩,以及其相应的艺术形式色彩语言的主观性表现,在理性再现艺术已近乎完美的同时,后印象主义画家不再满足于只凭视觉单纯地客观再现自然物象的真实色彩感觉,他们不惜使自己的色彩表现游离感官的真实,而根据作品主题和画面的需要对色彩进行再创造,以强调自我情感、个性的表现,将自己的感性思维和主观意识作为艺术表现的全新主题,在表现性艺术精神之下,拓展了油画色彩语言的存在空间和功能。
文章中对从古典到后印象主义油画色彩语言的分析,虽然不能完全涵盖这几百年来西方美术史上涌现的不胜枚举的绘画流派和众多在艺术上各有千秋的画家,但希望通过对这期间主要艺术思潮和表现形式的概括,体现出在不同历史阶段,油画色彩语言从单纯的模仿、再现自然形象到逐渐脱离自然而走向纯绘画语言本身的过程中演变出的不同的精神性和表现性。
Color as an important oil painting performance art means, has become a unique aesthetic within the framework of the aesthetic elements. Oil painting color ideas through a variety of aesthetic, genre painting, personal style and expression vector, such as shown immediately after becoming dazzled people. In this paper, before the art of modern Western art history from different historical periods with careful analysis carried out to study the development of color features and color shapes the development of the law, and then to look for color in the development process of the evolution of context.
Scientific research in Western oil painting and application of the color evolution of history, the need for the human spirit from the West and Western art forms of the language of both the fundamental perspective, "the spirit of derivative language," at the entire painting colorful language in the area of each historical period, have changed due to the concept of rich applications and tools. From classical to post-impressionism, color painting has undergone a transformation quite a long process, from initial simulation to find their own natural spiritual values, from the outside to the inner-depth description of the development of painting in color also from the auxiliary to the finish the main function of the transition.
Through the three-part article on the history of Western art from the Renaissance to Post-Impressionism time in half a century the spirit of the main trends of thought and art are analyzed and summarized, summed up the color painting process in the development of several significant changes. On the first part of painting in the classical rational and reflect the concept of color, as well as the art form of its corresponding language dependent color reproduction. Greece since ancient times, beginning, philosophers and artists, the art comes down to "philosophy" of the show, as well as the imitation of the real world, art on the reproduction around the establishment of a rational and relatively complete system. After the Renaissance and classical art oil paintings, the ancient Greeks to the present, and a rational first time the scientific spirit with the combination experienced a revival of ancient Greek art of the Third Rome, the climax, that is, beginning in the 14th century to the realism of Renaissance painting scientific language model, the 17th century, Poussin and the cause of the birth of norms Institute, to begin in the second half of the 18th century, the third revival of classicism, construction and improvement of Western oil painting reproduction of classical rational language system. Artist who learn through the use of perspective, anatomy, light projection law, the realism of the physical play was accurate and detailed, and color reproduction in the rational development of the system is slow, only as a supplement to sketch the relationship between the performance of the screen means to the atmosphere, the arts on the conceptualization of language, practices on the performance of programmable, only the intrinsic object color goes for lightness changes under different circumstances rather than the pursuit of sex change and environmental well-being of the interaction between colors.
On the second part of the Impressionist and Neo- Impressionist paintings reflect the color of the rational senses, as well as the art form of its corresponding color reproduction of language independence. Reproduction of this period, physical realism from realist paintings to switch to color the track of realistic art, color painting as an independent element, in the screen play a decisive role. In theory, the artist in their optical theory of natural sciences as a guide, to color in painting the real picture with the intrinsic link between the analysis of rational, scientific reproduction; expression of "an instant impression" to pursue, but also more appropriate From painting to convey the inner feelings with visual impression, and this varies from person to person and is also a sensory impression of a certain subjective. Impressionist artist through the light of the factual description of color, expression of feelings and objective color, to achieve an objective beyond the images, will be aimed at the performance of the real vision of realistic painting to the extreme, in the painting took on an objective color the peak of reproduction.
On the third part in the post-Impressionist paintings reflect the emotional sense of color, as well as their respective art forms of the subjective performance of colorful language. In a rational representation of the arts have been almost perfect at the same time, post-Impressionist artist who is no longer satisfied with just an objective vision simply reproduce the true color images of natural feeling, they make their own color at the performance of the true free sensual, according to works and subject color images need to re-create, in order to emphasize the self-emotion, the performance of personality, its own subjective sense of emotional thinking and artistic expression as a new subject, in the spirit of performance art, the expansion of the oil color space and the existence function.
From the classical article on the post-Impressionist paintings to colorful language analysis, although this should not completely cover the history of Western art for centuries the list goes on emerging trends and many of the paintings at Art on the artist is different, but I hope that through this period of major art ideas and expressions of a general, reflect the different historical stages, painting colorful language from the simple imitation of a natural image reproduction to gradually move from a purely natural process of painting itself in a different evolution and the performance of the spirit of.
科学的研究西方绘画中的色彩演变及应用历史,需要从西方的人文精神和西方绘画的形式语言两个基本角度入手,“精神派生语言”,色彩语言在整个绘画领域中的每一个历史时期,都有着因观念的改变而丰富的应用手段。从古典绘画到后印象主义,油画色彩语言经历了一个相当长的蜕变过程,从最初的模拟自然到发现自身的精神价值,从由外部摹写向内心深入发展,色彩也在绘画语言中完成了从辅助到主体的功能过渡。
文章通过三个部分,对西方美术史上从文艺复兴到后印象主义几个世纪以来的时代精神和艺术思潮进行了分析和概括,总结了油画色彩语言在发展过程中的几次重大转变。第一部分试述在古典绘画中体现出的理性概念色彩,以及其相应的艺术形式色彩语言的依附性再现。自古希腊开始,哲学家和艺术家把艺术归结为“理念”的显现以及对现实世界的模仿,艺术就围绕着理性与再现建立起一个相对完整的体系。文艺复兴及其之后的古典油画艺术,把古希腊人本主义、理性至上与时代科学精神相结合,经历了对古希腊罗马艺术复兴的三次高潮,即开始于14世纪的文艺复兴运动对写实绘画语言模式的科学化,17世纪的普桑主义导致学院规范的诞生,到开始于18世纪下半叶的第三次古典主义复兴,建构和完善了西方古典理性再现油画语言体系。画家们借助于透视学、解剖学、光线的投影规律,对形体的写实发挥得准确详尽,而色彩语言在这一理性再现体系中却发展缓慢,仅作为辅助素描关系来表现画面气氛的手段,艺术语言上概念化、表现手法上程式化,大多是对物体的固有色相作明度的推移变化,而不追求不同环境下色相的冷暖变化及环境色之间的相互影响。
第二部分试述在印象主义和新印象主义绘画中体现出的理性感官色彩,以及其相应的艺术形式色彩语言的独立性再现,这一时期的再现写实油画由形体写实转换到色彩写实的艺术轨道上,色彩语言作为独立的绘画要素,在画面中起决定性作用。理论上,画家们以自然科学中的光学理论为指导,对色彩在绘画与实际景象之间的内在联系进行理性的分析,科学的表现;表达上,对“瞬间印象”的追求,又更加适宜于传达绘画者的内在感受与直观印象,并且这种感官印象也是因人而异而带有一定主观性的。印象主义画家通过对光色的如实摹写,表达了对客观色彩的内心感受,完成了对客观物象的超越,将旨在表现视觉真实的写实绘画发展到了极致,在绘画色彩上走上了客观再现的顶峰
第三部分试述在后印象主义绘画中体现出的感性意识色彩,以及其相应的艺术形式色彩语言的主观性表现,在理性再现艺术已近乎完美的同时,后印象主义画家不再满足于只凭视觉单纯地客观再现自然物象的真实色彩感觉,他们不惜使自己的色彩表现游离感官的真实,而根据作品主题和画面的需要对色彩进行再创造,以强调自我情感、个性的表现,将自己的感性思维和主观意识作为艺术表现的全新主题,在表现性艺术精神之下,拓展了油画色彩语言的存在空间和功能。
文章中对从古典到后印象主义油画色彩语言的分析,虽然不能完全涵盖这几百年来西方美术史上涌现的不胜枚举的绘画流派和众多在艺术上各有千秋的画家,但希望通过对这期间主要艺术思潮和表现形式的概括,体现出在不同历史阶段,油画色彩语言从单纯的模仿、再现自然形象到逐渐脱离自然而走向纯绘画语言本身的过程中演变出的不同的精神性和表现性。
Color as an important oil painting performance art means, has become a unique aesthetic within the framework of the aesthetic elements. Oil painting color ideas through a variety of aesthetic, genre painting, personal style and expression vector, such as shown immediately after becoming dazzled people. In this paper, before the art of modern Western art history from different historical periods with careful analysis carried out to study the development of color features and color shapes the development of the law, and then to look for color in the development process of the evolution of context.
Scientific research in Western oil painting and application of the color evolution of history, the need for the human spirit from the West and Western art forms of the language of both the fundamental perspective, "the spirit of derivative language," at the entire painting colorful language in the area of each historical period, have changed due to the concept of rich applications and tools. From classical to post-impressionism, color painting has undergone a transformation quite a long process, from initial simulation to find their own natural spiritual values, from the outside to the inner-depth description of the development of painting in color also from the auxiliary to the finish the main function of the transition.
Through the three-part article on the history of Western art from the Renaissance to Post-Impressionism time in half a century the spirit of the main trends of thought and art are analyzed and summarized, summed up the color painting process in the development of several significant changes. On the first part of painting in the classical rational and reflect the concept of color, as well as the art form of its corresponding language dependent color reproduction. Greece since ancient times, beginning, philosophers and artists, the art comes down to "philosophy" of the show, as well as the imitation of the real world, art on the reproduction around the establishment of a rational and relatively complete system. After the Renaissance and classical art oil paintings, the ancient Greeks to the present, and a rational first time the scientific spirit with the combination experienced a revival of ancient Greek art of the Third Rome, the climax, that is, beginning in the 14th century to the realism of Renaissance painting scientific language model, the 17th century, Poussin and the cause of the birth of norms Institute, to begin in the second half of the 18th century, the third revival of classicism, construction and improvement of Western oil painting reproduction of classical rational language system. Artist who learn through the use of perspective, anatomy, light projection law, the realism of the physical play was accurate and detailed, and color reproduction in the rational development of the system is slow, only as a supplement to sketch the relationship between the performance of the screen means to the atmosphere, the arts on the conceptualization of language, practices on the performance of programmable, only the intrinsic object color goes for lightness changes under different circumstances rather than the pursuit of sex change and environmental well-being of the interaction between colors.
On the second part of the Impressionist and Neo- Impressionist paintings reflect the color of the rational senses, as well as the art form of its corresponding color reproduction of language independence. Reproduction of this period, physical realism from realist paintings to switch to color the track of realistic art, color painting as an independent element, in the screen play a decisive role. In theory, the artist in their optical theory of natural sciences as a guide, to color in painting the real picture with the intrinsic link between the analysis of rational, scientific reproduction; expression of "an instant impression" to pursue, but also more appropriate From painting to convey the inner feelings with visual impression, and this varies from person to person and is also a sensory impression of a certain subjective. Impressionist artist through the light of the factual description of color, expression of feelings and objective color, to achieve an objective beyond the images, will be aimed at the performance of the real vision of realistic painting to the extreme, in the painting took on an objective color the peak of reproduction.
On the third part in the post-Impressionist paintings reflect the emotional sense of color, as well as their respective art forms of the subjective performance of colorful language. In a rational representation of the arts have been almost perfect at the same time, post-Impressionist artist who is no longer satisfied with just an objective vision simply reproduce the true color images of natural feeling, they make their own color at the performance of the true free sensual, according to works and subject color images need to re-create, in order to emphasize the self-emotion, the performance of personality, its own subjective sense of emotional thinking and artistic expression as a new subject, in the spirit of performance art, the expansion of the oil color space and the existence function.
From the classical article on the post-Impressionist paintings to colorful language analysis, although this should not completely cover the history of Western art for centuries the list goes on emerging trends and many of the paintings at Art on the artist is different, but I hope that through this period of major art ideas and expressions of a general, reflect the different historical stages, painting colorful language from the simple imitation of a natural image reproduction to gradually move from a purely natural process of painting itself in a different evolution and the performance of the spirit of.
引文
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1、甄巍.与经典相随:古典美术鉴赏[M].桂林:广西师范大学出版社,2002年10月第1版
2、高天民.从古典走向现代:法兰西美术[M].长春:吉林美术出版社,1999年1月第1版
3、孔新苗,张萍.中西美术比较[M].济南:山东画报出版社,2002年1月第1版
4、达·芬奇.芬奇论绘画[M].北京:人民美术出版社,1979年
5、高天民.法国美术史话[M].北京:人民美术出版社,1998年12月第1版
6、常宁生.反叛与超越现代西方绘画艺术[M].上海:东方出版中心,2000年10月第1版
7、杨身源,张弘昕.西方画论辑要[M].南京:江苏美术出版社,1990年4月第1版
8、朱光潜.拉奥孔[M].北京:人民文学出版社,1984年版
9、朱伯雄.安格尔论艺术[M].沈阳:辽宁美术出版社,1979年版
10、牛宏宝.西方现代美学[M].上海:上海人民出版社,2002年版
11、钟涵.廊下巡礼[M].北京:人民美术出版社,2001年版
12、史密斯·P,张广龙.印象主义[M].北京:中国建筑工业出版社,2004年版
13、刘明毅.德加[M].上海:上海人民出版社,1983年版
14、马也,仇永波.色彩基础[M].沈阳:辽宁美术出版社,2007年2月第3版
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1、甄巍.与经典相随:古典美术鉴赏[M].桂林:广西师范大学出版社,2002年10月第1版
2、高天民.从古典走向现代:法兰西美术[M].长春:吉林美术出版社,1999年1月第1版
3、孔新苗,张萍.中西美术比较[M].济南:山东画报出版社,2002年1月第1版
4、达·芬奇.芬奇论绘画[M].北京:人民美术出版社,1979年
5、高天民.法国美术史话[M].北京:人民美术出版社,1998年12月第1版
6、常宁生.反叛与超越现代西方绘画艺术[M].上海:东方出版中心,2000年10月第1版
7、杨身源,张弘昕.西方画论辑要[M].南京:江苏美术出版社,1990年4月第1版
8、朱光潜.拉奥孔[M].北京:人民文学出版社,1984年版
9、朱伯雄.安格尔论艺术[M].沈阳:辽宁美术出版社,1979年版
10、牛宏宝.西方现代美学[M].上海:上海人民出版社,2002年版
11、钟涵.廊下巡礼[M].北京:人民美术出版社,2001年版
12、史密斯·P,张广龙.印象主义[M].北京:中国建筑工业出版社,2004年版
13、刘明毅.德加[M].上海:上海人民出版社,1983年版
14、马也,仇永波.色彩基础[M].沈阳:辽宁美术出版社,2007年2月第3版
15、朱光潜.美学[J].商务印书馆,1979年版
16、吕澎.塞尚、凡高、高更书信选[M].成都:四川美术出版社,1986年版
17、鲁道夫·阿恩海姆,滕守尧.艺术与视知觉[M].北京:中国社会科学出版社,1984年版
18、苏晓民、尹国有.色彩教学研究[M].沈阳:辽宁美术出版社,2005年7月第1版
19、马凤林.印象主义[M].武汉:湖北美术出版社,2005年4月第1版
20、尼古拉·第弗利.19世纪艺术[M].长春:吉林美术出版社,2002年7月第1版
21、特列沃·兰姆,贾宁·布里奥.色彩[M].北京:华夏出版社,2006年1月第1版
22、马路.走向创新之路[M].广州:岭南美术出版社,2003年5月第1版
23、约翰·雷华德.印象画派史[M].北京:人民美术出版社,1983年4月第1版
24、利奥奈洛·文杜里.西欧近代画家[M].北京:人民美术出版社,1979年12月第1版
25、H·阿纳森.西方现代艺术史[M].天津:天津人民美术出版社,2007年3月第1版
26、瓦尔特·赫斯.欧洲现代画派画论选[M].北京:人民美术出版社,1985年4月第1版
27、贝尔.艺术[M].南京:江苏教育出版社,2005年10月第1版
28、宗白华.宗白华美学文学译文选[M].北京:北京大学出版社,1982年10月第1版
29、李嘉熙.德拉克罗瓦日记[M].北京:人民美术出版社,1981年10月第1版
30、顿斯坦.印象派技法[M].天津:天津人民美术出版社,1982年10月第1版
31、约翰内斯·伊顿.色彩艺术[M].上海:上海人民美术出版社,1999年6月第1版
32、Jack D·Flam.马蒂斯论艺术[M].郑州:河南美术出版社,1987年版
33、约翰·拉塞尔.现代艺术的意义[M].北京:中国人民大学出版社,2003年12月第1版