绘画的时间性

【作者】 兰友利；

【导师】 许江； 司徒立； 焦小健；

【作者基本信息】 中国美术学院 ， 美术学， 2013， 博士

【摘要】 本文首先对时间与时间性在概念上做出了区分,把自然科学的时间观与意识活动的内在时间性做出了对比。古希腊艺术把握住的是时间从过去向未来延伸的中继点,其中占据着时间的绵延厚度。古罗马艺术开始转向写实,时间表现为一个切面,其中不包含过去的回溯与未来的延展,在时间性上失去了厚度。文艺复兴发展出的焦点透视法、解剖学和明暗法则,把世界确定为与身体相对立的物质世界。印象派开始关注时间的表达,但是停留在时间的瞬间观念上,依然没有跳出自然科学的时间观。莫奈晚期的绘画在时间性上发生转向,为绘画注入了绵延的时间意识。塞尚的绘画排除了印象主义者描绘“瞬间”的观念,他捍卫了一种更为宽广的内在时间意识。他绘画中的时间性切近到古希腊雕塑与绘画在时间意义上的三位一体,体现在自然的直观中连接着曾在与将在的那个现在,是过去、未来与现在的统一交集。现代艺术的时间观念普遍是将时间理解为空间中的运动,所以在现代派绘画上的反映就是立体派空间的多维综合与未来主义物体的连续运动形式,或者是抽象主义的观念抽取与音乐律动,以及超现实主义关于潜意识的梦境描绘。贾科梅蒂不满足于现代主义将时间作为一个观念去表述,他通过对时间的追问开始直面存在的问题。他并不仅仅是画出对象,而且还要画出自己的意识。他把时间、意识、现象统一在一起进行描绘,其画面不断生成的意识迹变在时间性上切近到古希腊之前的艺术时间观,即过去、未来于现在统一“到时”的存在。莫兰迪绘画艺术中那种反复的重温式描绘,勾连到古希腊绘画介于平面性与体积暗示之间的即将浮现状态,揭示出时间性的“待出”状态。论文最后尝试性讨论了中国绘画中的时间性具有中道观的特征,古希腊艺术中运动与形式的中间状态与中国绘画的中道观在时间性上存在着可供对话的可能。更多还原

【Abstract】 This dissertation, at the beginning, differentiates time from temporality in the term of their concepts, making a comparison of the concept of time of science with the intrinsic temporality of the activities of consciousness. What the ancient Greek art captured is the relay point that time extends from the past to the future, which occupies a consistent thickness of the time. Roman art began to turn to realism, where time is expressed as a tangent plane, not containing a retrospective of the past and the extension to the future, with a result of losing the thickness on the temporality. Focus perspective, Anatomy and Shading Rules evolved in Renaissance Period defined the world as a material one in the opposition to the body. Although Impressionism started to pay attention to the expression of the time, they remained in the instantaneous concept of the time, being still restrained in the concept of time of science. Monet’s late paintings have a turning in the temporality, putting into the painting stretching consciousness of time. Cezanne’s paintings exclude the attitudes of the impressionist depicting "the transitory moment", through which he defends a much broader internal time consciousness. The temporality he expresses in his paintings borders on the Trinity of the ancient Greek sculpture and painting in the sense of the time, with the reflection of the present which connects the having-been present with the will-being in the natural intuition, a comprehensive melange and intersection of the past, the future and the present.However, according to the concept of time from Modern art, time is generally understood as motions in space, therefore with the reflections in the Modernist paintings that time is the multidimensional integration of the Cubist space and the form of the objective continuous motions of Futurist, or the abstraction of the concept from Abstract Art and the rhythm of the music, as well as the Surrealist depictions of subconscious dreams. By questioning time, Giacometti began to face the existing problems, not satisfied with the way that Modernism expresses time as a concept. He not only pictures the object, but also portrays his own consciousness. He depicts the combination of time, consciousness, and the phenomenon, integrated together from which the changing tracks generating from the pictures constantly approximating to the concept of time prior to the ancient Greek art, that is, at the present time, the past and the future are unified as the existence of "been". In Morandi’s paintings, the repeatedly relived depiction has a collusion with the emerging state of the ancient Greek painting between the plane and volume implication, revealing the "to be" state of temporality.The thesis finally concentrates on a try to discuss that the temporality of the Chinese painting features the attitudes and doctrines of Chinese Taoism, with an conclusion of there being an available comparison of the temporality of the moderate state of the motion and form in the ancient Greek art with that of the attitudes of Intrinsical Strengthening in the Chinese painting.更多还原