【作者】 周丹丹；

【导师】 王时敏；

【作者基本信息】 太原理工大学 ， 设计艺术学， 2012， 硕士

【副题名】齐白石与毕加索绘画艺术比较研究

【摘要】 中西方的绘画在原始艺术中,或者在古代是相似的,大都是直线造型,平涂填色。到公元六世纪后,开始走上了截然不同的道路,西方绘画讲究科学理性,追求在二维空间塑造三维立体幻像的仿生学方式,而东方绘画则走上曲线造型,重在意象的象征主义道路。中西方不同的文化环境,滋生出风格迥异的杰出艺术大师。贡布里希说：“艺术史并不是一部技术不断进步的历史,而是一部观念不断变化的历史”。从历史上看,历代艺术大师长期进行艺术实践、探索、研究并逐渐掌握艺术规律,由被动到自觉、主动,从必然到自由探索绘画形式,形成自己的艺术风格,用他们的作品向我们展示出精湛的艺术表现力和独特感受美的能力。现代艺术史上,中国的齐白石和西班牙的毕加索这两位不同国度、不同文化背景的艺术大师,其作品风格迥异,虽然他们生活在东西方不同的文化土壤中,但是在探索现代绘画艺术形式过程中的艺术态度和艺术历程颇有共识且具代表性。他们二人都能享受生活所给予的甘苦与欢乐,在将近一个世纪的人生历程中,从事艺术创作长达70多年,都为这个世界贡献了无价的精神财富。更确切的说,在近现代美术的转折点上,不论是他们艺术的本身还是他们的艺术象征意义,都是没有人可以与之相比的。“图像”是现代视觉艺术研究、实践探索中极其重要的一个研究对象,它起源于十九世纪,兴起于西方的传统图像志研究,二十世纪前半叶迅速发展为国际艺术史研究中具有统治地位的学科之一,现在已衍生为一种全新的艺术史和艺术学的研究方法,经历了前图像志、图像志分析、图像学阐释三个阶段,对艺术作品的研究从形式出发层层深入,步步拓展,由艺术个体观时代整体,再由时代整体反衬艺术个体。二十世纪现代绘画艺术大师两位重要代表画家齐白石与毕加索的比较研究,是建立在画家个案研究基础之上的,这样的研究能够更加彰显画家各自的特点,通过画家之间的比较以及互动性的交往综合起来进行考察,有助于我们清晰地把握在画家个人身上所反映出来的艺术现象及其规律,进而探寻中西绘画艺术的异同,对中西绘画艺术总体研究提供更为丰实的支持,将会给我们有益的启示,也正是本文研究的目的,而且鉴于中西文化的传播融合,图像元素日益成为重要的信息,已经渗透到每个角落,这样的视点也就更具备了现实意义。更多还原

【Abstract】 Focused on linear modeling and flat painted coloring, Chinese and western paintings are similar in terms of primitive art or the art in ancient times. Since the6th century, they have taken totally different ways. Western paintings stress science and reason, and pursue the bionic way of modeling three-dimensional visionary images in two dimension space while oriental paintings focus on curve modeling and image symbolism. Different cultures between Chinese and western countries have fostered outstanding maestros with different styles. Gombrich said,"The history of art is not the history of constant technical improvement, but the history of constantly changing concepts." Historically speaking, the past maestros had practiced, explored and studied art for a long time and gradually grasped the law of art before forming their own art styles. Going through passiveness, consciousness, activeness, necessity and free exploration of art, they use their works to present consummate art expression and unique ability to experience the beauty. In the course of modern art history, the two maestros, China’s Qi Baishi and Spain’s Picasso, with different countries and cultural backgrounds, have the different styles of works. Although they have been brought up in different oriental and western cultures, they are typical representatives to explore the art attitude and art development course in modern painting forms and process. Both of them can enjoy sorrows and joyes of life. They have contributed priceless spiritual wealth to the world in their lifetime of about a century with more than eight decades of artistic creations. More specifically, in terms of turning points in modern and contemporary art, both their arts and their artistic symbolic significance are not what any other artist can hold a candle to."Image" is a very important research objective of modern visual arts study and practical exploration. It dated from19th century and rose from western traditional iconology. In the first half of20th century, it was quickly developed into one of the dominant subjects of international art history study. Now it has evolved into a brand new research method of art history and art theory. It has undertaken three stages of pre-iconography, iconographical analysis and iconographical interpretation. It starts with the form of studies of works of art, gradually deepens and expands. It observes the entire era with artistic individuals and then sets off the artistic individuals with the era. The comparative study of Qi Baishi’ s art and Picasso’s art, two important representative maestros of modern painting in20th century, is based on the study of artists’ cases. Such study is able to better demonstrate artists’ characteristics. The comprehensive observation of comparison between artists and interactive communications can help us clearly grasp art phenomena and laws reflected by individual artists so as to further explore the similarities and disparities between Chinese paintings and western paintings, provide more comprehensive support for the general study of Chinese paintings and western paintings, and give us useful enlightenment, which is the purpose of this paper. Besides, given communications and integration of Chinese and western cultures, the image elements are becoming more and more important information which has found its way in every corner. Such kind of perspective is of practical significance.更多还原