| 法国后印象派与中国清朝扬州八怪分离是中西艺术成长史上惹人注视的光辉篇章,两个画派在存在配景、画派由来、艺术主意和艺术特点等一些方面很有类似的地方。本文试图以两者的创作主体认识为动身点对两个画派停止剖析与比拟研究,慢慢拓展和深化对法国后印象派与中国清朝扬州八怪的综合性审阅。本文起首引见选题的由来。特定阶段所生成的主体认识面前,有值得人们存眷的特定的主体性成因,后印象派绘画对西方绘画的自创也使两派绘画之间具有某些类似的地方有迹可循。然后对法国后印象派与中国清朝扬州八怪停止对应简介,接上去就画家特定的类似的地方比方生涯时期配景、各自作为“派”的归结、特性化创作等方面停止类比,进而重点经由过程所拔取的主体认识的两个表示方面,即从两个画派各自对绘画的艺术说话表达措施和对艺术与天然关系所持的立场与表示动手,将详细的艺术景象放到微观的艺术美学和各自的文明史配景中停止重点对应略论。透过这些比拟可以发明,中西艺术之间存在着某些配合的纪律与表示办法,对主体认识的存眷与表示无疑组成了两个画派赓续更新与成长的内涵动力。绘画创作外面的某种类似其实又存在着更加深入的差别性。固然在创作中人类情绪存在相通性,在分歧生计情况下的创作也弗成防止会具有差别性,然则由于凝集了画家奇特的思惟与艺术特性,法国后印象派与中国清朝扬州八怪在艺术境地的某个高度上是异曲同工的,同时这些表示对于现现代艺术的成长也具有必定的启发的地方。 Abstract: The French post Impressionist and Chinese Qing Dynasty Yangzhou eight strange separation is a glorious chapter in the history of Chinese and Western art development arouses attention, two painting very similar places in the presence of background, origin, painting art idea and artistic characteristics and other aspects. This paper attempts to understand both the creation subject as the starting point of the two group analysis and comparative study, slowly expanding and deepening of the French post Impressionist and China Qing Dynasty Yangzhou eight blame comprehensive review. This article first introduces the origin of the topic. Subject specific phase generated understanding before, is worth people to pay close attention to the specific main causes of Post Impressionism created to Western painting also makes the painting between factions have certain similar local track. Then the French post Impressionist and China Qing Dynasty Yangzhou eight strange corresponding introduction next stop, the painter specific similar places for example, their career period background as "pie", attributed characteristics and other aspects of creative analogy, two aspects and then focuses on the main body through the said process used in understanding, from two school of painting art. Their expression method and position to hold art and natural relationship with the said hands, will detail the art scene on the micro art aesthetics and their history background in key correspondence analysis. Through the analogy can be found between the Chinese and Western art and representation of some complex discipline, on the subject of concern and said is composed of two school continuously updated with the growth of the connotation of power. Outside the painting creation of a similar fact there is a more profound difference. Of course in the creation of human emotions are interlinked, in different circumstances livelihood creation also inevitable will have difference, but because the thoughts and artistic features of the painter strange agglutination, French post Impressionist and China Qing Dynasty Yangzhou eight monsters in a highly artistic situation is the representation of these different approaches but equally satisfactory results, at the same time now development of modern art has also inspired the place. 目录: 摘要 4-5 ABSTRACT 5 引言 8-10 第一章 学术召唤与艺术关注——法国后印象派与中国清代扬州八怪之比较简析 10-14 第一节 “比”之略论与对应切入 10-11 第二节 创作主体与主体意识 11-14 一、后印象派和扬州八怪 11-12 二、主体意识 12-14 第二章 惊喜与误读——法国后印象派与中国清代扬州八怪之对应归纳 14-28 第一节 画派存在的时代背景之比较 14-18 一、经济基础与文化环境 14-16 二、不自觉的流派与相异的风格 16-18 第二节 由“自发”到“本能”的个性张扬 18-28 一、主流画派与非主流画派 18-20 二、创作的生存与生存的创作 20-28 第三章 “语言”与“观念”——后印象派与扬州八怪在主体意识表现方面的对应剖析 28-46 第一节 意象与表现——对色彩表现语言之比较 28-36 一、对色彩与笔墨的新阐释 28-32 二、对两派绘画表现性之具体略论 32-36 第二节 对应与超越——对艺术与自然的关系所持态度与表现之比较 36-46 一、主体意识支配下不同的自然观及其艺术表现 36-39 二、深层的艺术美学及社会精神比较 39-46 第四章 “远隔”与“相近”——后印象派与扬州八怪之比较的启示 46-52 第一节 两派比较之对应归纳 46-47 第二节 艺术审美对“远”与“近”的融合 47-48 第三节 对现当代绘画发展的启示 48-52 结语 52-53 附图 53-56 附图A 53-54 附图B 54-55 附图C 55-56 参考文献 56-59 后记 59-60 |
