摘要
本论文通过分别阐释石涛和康定斯基的绘画论来考察东西方绘画的抽象本性。本文力图在现代美术中打破单纯的东西方二分法的思维定式,立足于各自的“精神”来考察东西方绘画艺术的意义和价值。现代美术的发展极为复杂,难以用一句话来概括,它将现代主义看作为一个重要的基点,对西方绘画价值和意义的探索进行的如火如荼。本文的宗旨是想通过考察现代主义绘画的“抽象”精神以及从其造型中展现出的现代性要素,来分析东西方绘画各自呈现的形象及其意义。本文尤其关注与抽象中所包含的东方哲学相关的精神性价值,通过分析石涛和康定斯基的绘画精神和作品,具体地考察与西方的抽象与东方绘画的相互影响。
本文在考察东西方抽象的思想背景中,发现东西方的抽象表达非常相似却也有着本质上的差异。康定斯基以“内在必然性”作为绘画的一种全新视角,在抽象绘画中利用线条和色彩进行象征化表现试图创作出几何学性的绘画语言,同时吸收了东方绘画的因素。即,在他的抒情性、直观性艺术中,“内在精神”展现出的强烈象征性和充满节奏感且气韵生动的笔力中,尤其是线条表现出东方绘画的观念性和无限的空间感。反过来,东方的心性文化及其哲学具有深层次的关联,可以发现源于哲学思想的自然观和写意思想,而且在自由的创作之心与表现方式之中,抽象逐渐得到发展。在东方,为了证明东方绘画的抽象性要素,将其中绘画的根本法则称为“一画”,以“内心”将其具体化,并再次对内心的主体性、自觉性问题提出疑问,强调精神性,并研究石涛个性主义画风的“一画论”。另外这里首先要明确的是,本次研究并没有试图将石涛归类或评定为抽象画家,只是认为从石涛的文章和作品中所发现的独具个性的美学思想更加凸显出抽象绘画中“现代性”的精神。本文从石涛的“一画”思想中分析东方绘画的抽象性精神,并考察东方绘画的美学意识。通过从康定斯基和石涛的绘画论中所包含的美学思想中发现了抽象美术以极具表现性的感性形式发展为全新的造型语言,即线条和色彩表现出自己独有的形式。尤其是抽象绘画着力追求表现不可视的世界,这是现代绘画的重要精神性要素,我们在客观且自律的必然性之上不断追求着内在根源性的独创性。为了具体地进行考证,本文通过分析东西方艺术中的现代性要素,同时借助典型画家的作品揭示出新时代艺术的前进方向。
The dissertation considers Shitao and Wassily Kandinsky’s theories on painting.While contemporary art has a tendency to limit the concept of the ‘abstract’ into theEast/West binary, I intend to overcome this by studying the meaning and value ofEastern and Western abstract art based on its ‘spirit’ or attitudes. To this end, I identifiedmodernism as a starting point, as this period actively emphasized the study of WesternPaintings, and abstract art is some of the most representative art of the period. Theacademic project here is to understand the attitudes reflected in abstract art, and thefactors/parts visible in the formal expression that make the work ‘contemporary.’
I focus particularly on the Eastern spiritual value-system that is ingrained inWestern abstract painting, and explored Eastern philosophy’s strong influence throughan analysis of Shitao and Kandinsky’s work and their artistic approaches. The changesand expanded access to the ‘East’ in the20th century enabled West’s understandingEast’s way of thinking as a new system of consciousness. Eastern philosophiesincluding Zen ideology were influential in channeling concentrated inner impulses as‘abstract’ and ‘unique’ methods of expression in works of art. The West found new waysto reconfirm the meaning of human existence and art through appearance of nothingness,and emptiness, ambiguousness prevalent in Eastern philosophy.
In studying the philosophical attitudes and contexts in approaching the ‘abstract’ inthe East and the West, the methodological similarities and differences are made visible.I pay particular attention to the formation of Kandinsky’s abstract painting whichsymbolized the line and the color as new possibilities in painting based on the “innernecessity.” Kandinsky attempted to create a new artistic language with geometricexpression, using chords that maintain balance and harmony in music. Eastern paintingswere influential in this process. There are similarities in Kandinsky’s powerful lines andbrushstrokes coming from his view of the ‘inner-spirit,’ and the visual expression of theideal and infinite space in Eastern paintings.
On the other hand, conceptual-centric culture in the East has a deep relationshipwith Eastern philosophy and is a continuation of it. Through this we know that theabstractions arise out of perspectives on nature and conceptuality that are informed by Eastern philosophy, and which take a form of liberated and creative formal expression. Ifocused on Shitao’s ‘single brushstroke theory’ to confirm these abstract elements inEastern painting. Shitao developed a unique style as he emphasizes on importance of abrushstroke as a representation of artist’s mind and attitude referring toself-determination, self-realization, spontaneity and universality.
My attempt is not to define or evaluate Shitao as an abstract painter but to focus onhis theory and aesthetics representing a contemporary approach in abstract painting.Rather, I attempt to explain the aesthetics of Eastern painting analyzing Shitao’s ‘singlebrushstroke theory’ in relation to the changes of that the society was experiencing then,and the trending towards unique styles. This will serve as a clue into abstract elementsin Eastern painting. Specifically, I focus on Shitao’s development through Easternmodern art’s early emphasis on uniqueness and individuality.
Shitao’s theories on painting, the non-specificity of inner fundamental nature ofabstract art, leads to new visual language in terms of its methods of expressiveness andsentimentality. In doing so, this aesthetic paved the way for artists to express their ownunique style through lines and colors. Abstract painting denies the physical presence ofthe universe but pursues the expression of metaphysical world. This is a critical elementin contemporary art that drives us to reach for uniqueness of inner-self which is arealistic and an autonomic necessity.
Overcoming the East/West binary and based on ‘universality’ of art, we canconfirm the value stemming from the abstract spirit and the meaning of art from Eastand West through endless questions regarding ‘nature of art.’ I present the direction ofcreativity that art needs to take for the new epoch. Through this dissertation, I hope thetrue value of the art could be re-evaluated as discovering the connection between theeastern and the western abstract paintings with the aesthetics of inner-mind. Throughthese aesthetic similarities I would like to suggest a vision for a value system and thefuture for discordant art in the east and the west.
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