当代绘画的跨文化互动

【作者】 斯然畅畅；

【导师】 邵亦杨；

【作者基本信息】 中央美术学院 ， 美术学， 2012， 硕士

【摘要】 20世纪德国艺术家格哈德·里希特与中国艺术家张晓刚都有参考了照片的绘画创作,并且采用了大体相似的写实风格与平涂技法。目前在国内艺术批评和研究的领域内,流行的观点认为,以张晓刚为代表的众多中国艺术家对里希特存在模仿。本文首先分别考察了两位艺术家重要作品图像的来源,分析了他们选择具体创作主题的原因,并藉此对两人的艺术特征作出小结。里希特在绘画创作中对摄影的借用,看似是对摄影再现方式的模仿,实则是对西方绘画在历史发展中形成的独特精神的坚持。这一精神的内涵极其丰富,而里希特重视的是其中三个基本问题：理性的价值判断,人文的经典主题,和绘画再现现实的可靠性。张晓刚对照片的参考——从借用家庭合影式的构图及其暗含的人际关系结构,发展到对摄影图像静态化的引用——贯穿了他几乎所有的平面作品。对社会政治现实的记忆,是他反复处理的主题——早期他侧重于探索极权统治对个体生存的决定性影响,主要通过光斑这个图像与等级关系的暗示来传达这种记忆中的痛苦；最近十年以来,他转向反思记忆的可靠性,敏锐地指出回忆被当代生活的消费行为任意篡改,它与历史现实之间不可弥合的差距正体现在这样的脆弱性中。在这个前提下,本文运用跨文化艺术研究的视角和方法,突破传统比较研究的文化同一性假设,从文化生成过程中的交流与互动出发,重新检审了两位艺术家作品的相通之处与源自社会和个人特点的差异。最终得出他们真正的相似在于明确反对极权政治的态度、而不仅仅是形态风格的结论。更多还原

【Abstract】 20century German artist, Gerhard Richter, and the Chinese artists Zhang Xiaogang both have paintings referencing photography, and adopt broadly similar realistic style and flat coating techniques. At present in China, the prevailing view within art criticism and research field believes that as a representative of many Chinese artists, Zhang Xiaogang imitates Richter. This paper first separately inspectes important works of the the two artists from their source of images, and analyzes the reasons why they choose specific subjects in art creation, and thereby give summaries respectively to the features of the twp artists. The borrow of photography in Richter’s paintings looks like imitation to the way of representation of photography, but actually it is insistence to the unique spirit formed in the development of western painting history. This spirit has extremely rich connotation, and Richter focuses on three fundamental issues: rational value judgment, the classic themes of thumanities, and the reliability of representation of reality in the painting. Zhang Xiaogang’s reference to photo, from the application form the composition of family photographs and its implied structure of the interpersonal relationship to the staticition of image in photography, shows throughout all his graphic works. The memory of social and political reality is his repeated theme. Early days, he focused on the exploration of the decisive influence of individual survival under the ruling of totalitarian, conveying the pain in memory mainly through the image of light patch and the implication of hierarchy. In the recent decade, he has turned to reflect on the reliability of memory, keenly pointing out that memories are tampered arbitrarily of the consumption behavior in contemporary life, and its vulnerability can be seen from the unlinked gap between historical reality and itself. In this premise, the angle of view and methods of cross-cultural art research are applied in this paper to break the cultural identity hypothesis of traditional comparison study, and to form new inspection of the similarities and differences from social and individual characteristics of the two artists, from the exchange and interaction of cultural formation process. Eventually it comes to the conclusion that their true similarity is the explicit attitude against totalitarian politics, not merely in form and style.更多还原