【作者】 梁蓝波；

【导师】 王宏建；

【作者基本信息】 中央美术学院 ， 美术学， 2009， 博士

【摘要】 縱觀美術史,從古到今、從中到西,儘管在題材、手法和精神表現等方面千差萬別,但在留芳百世的經典作品中,我們可以覺察到其中為數不少的作品表現了一種非常相似的力量——一種雄偉壯闊、磅礴昂揚的精神氣概。從米開朗基羅到維米爾,從畢加索到弗洛依德,從懷素到顏真卿,從范寬到龔賢,我們均可以說,他們的作品都——呈現了氣勢磅礴的,英雄、豪邁的爆發性能量——一種宇宙般的雄渾、浩瀚與博大。在藝術分析上,我們可以將這種能量稱為力量、張力,或者更準確地說是爆發性視覺張力。不難看出,這樣的精神追求跨越了民族、國度和時代,跨越了題材、體裁和媒材,而且長盛不衰,成為古今中外藝術創作中最為永恆的精神追求之一。然而,這樣的一種精神追求是如何呈現在美術作品之中的呢?沿用西方形式派美學的理論和研究方法,本論文試圖探索在中,西方美術史中那些較好地呈現了強盛的“爆發性視覺張力”的造型藝術作品中可能潛在的特有的圖形模式。經過對古今中外大量經典作品的檢視,包括對書法、繪畫、雕塑和建築作品的局部形式和整體構成的分析、比較,歸納和總結,我首次發現了“Ω弧線形”對構成作品強盛的“爆發性視覺張力”所提供的幫助,並提出了“Ω弧線形”可以作為“爆發性視覺張力”的範式圖形這一全新理論。這部份的研究主要基於本人的觀察,體驗和分析,但也建立在對形式分析的多位前輩大師的經典論著的充分研究和借鑒的基礎之上,這些著作包括弗萊的《視覺與設計》,貝爾的《藝術》,沃爾夫林的《藝術風格學》,康定斯基的《論點線面》和阿恩海姆的《藝術與視知覺》等等。此外,通過對西方美學論著和中國古代畫論、書論、經典美學和文學批評論著的研究,本文從理論眉面揭示了“爆發性視覺張力”的表現在中、西方美術上的重要性、普遍性和永恆性。而且,對這樣一種精神意識的追求是歷代美學家、批評家和藝術家共同建構的審美理想。將一種獨特的精神表現與具體的視覺形象對應起來的立論方式和論證方法可能會為當代美術學形式分析研究的深人陸和具體化開啟一些新的領域。而本文提出的“Ω弧線形”這一獨特的構成規律也希望能像古希臘的“黃金比律”,賀加斯的“蛇形線”和構圖學上的“S”形、三角形等構成模式一樣具有恆久的、重要的學術價值:並希望最終能為當代藝術家在美術創作實踐中構建強勁的“爆發性視覺張力”提供一些啟示和一套切實的方法。也就是說,誠望此文在形式分析理論和對藝術實踐的啟迪意義雙方面均有所建樹。更多还原

【Abstract】 One of the most pervasive and enduring motives for artistic creativity must surely be the desire to express the sense of grandeur and sublime awe evoked by the overwhelming powers of Nature.Many profound works of art from every period and culture bear witness to this quest:Yen Zhenqing’s calligraphy exhibits the same heroic power as ancient Greek sculptures;Anselm Kiefer’s paintings express the same grandeur that the Song Dynasty painter,Fan Kuan,captures in his monumental landscapes.Likewise,certain masterpieces of Michelangelo,or Huaisu,or Picasso, are able to evoke powerful responses not dissimilar to the spiritual awe awakened by Nature’s dynamic forces.Such works of art,imbued with a spirit of profound grandeur and sublimity,attest to our fundamental kinship with the transcendent and creative powers of primordial Nature.Based on this observed expressive potential of the work of art,and adopting the theoretical assumptions and research methodology of formalist aesthetics,this dissertation posits a common stylistic and compositional pattern in masterpieces that embody the expression of grandeur or sublime loftiness within both Chinese and Western art histories.By means of observation,analysis,and a close reading of the research produced by Hogarth,Wolfflin,Fry,Bell,and with particular emphasis on Kandinsky’s Point and Line to Plane and Arnheim’s Art and Visual Perception,the "ΩCurve" is identified as a consistent element enabling works of visual art to attain a greater sense of grandeur,visual dynamism and spiritual integrity.This theory is born out through the detailed stylistic analysis of numerous examples of painting, calligraphy,sculpture,and architecture throughout history and across cultures.The connections between the "ΩCurve" and the expression of grandeur and dynamic force in art are further investigated in the theoretical context of "tension", as defined by Tate,and the notion of "the Sublime," as it has evolved in the seminal texts of Longinus,Burke,and Kant.Further,in this study,the relevant concepts from Western aesthetic theory have been brought into line with parallel concepts in ancient Chinese aesthetics and criticism:the notion of "cosmic force," for instance, and the "spirit of grandeur",as described by Laozi(Daodejing or Dao of Power), Mengzi(Mencius),and Sikongtu(Realms of Poetry).This dissertation concludes that (1) sublime grandeur,or dynamic force,provides an important,widespread,and long-lasting spiritual content present in both Chinese and Western arts;and(2) this expression has been intentionally sought by artists and recognized by critics and aestheticians of many cultures from ancient times to the present-day.This study,utilizing a research methodology that combines visual analysis with critical theory and aesthetics,makes a contribution in depth and specificity to contemporary art theory and formalist studies.At the same time,the research conclusions reached here may provide inspiration and practical guidance to artists who wish to strengthen the visual impact and expressive power of their work in any visual media.更多还原