论中国当代具象表现绘画的现实境遇-硕士论文.pdf

杭州师范大学硕士学位论文 论中国当代具象表现绘画的现实境遇 摘要 法籍著名华人画家司徒立1991 年来中国美术学院油画系讲学，首次在中国全面地论述 了具象表现绘画基础方法论，被一批思想开放，灵敏的艺术家所接受，所实践，并取得不菲 的成果。他们坚守自己的艺术追求，顺应自己的内心呼唤，不断地否定自己，去寻求艺术的 “真实”。他们要让被一波接一波的现代主义运动解构而“濒临危机”的架上绘画重新回到 视觉，回到“社会公有现实”，并试图以一种近乎科学的方法态度把艺术作为一种严谨的学 术志业。然而，他们对由现代主义“发掘”并“放大”的艺术审美公共性的态度是颇为“暧 昧”的，从他们对贾克梅蒂的推崇可隐约窥见他们的作品逐渐远离了审美艺术公共性，这是 很令人担忧的。中国的当下人文艺术哲学方面的现实境遇既为正在实践、发展中的具象表现 绘画提供了机遇，也让它面临挑战。具象表象绘画理论只有积极借鉴中国传统艺术精神，继 承和改进传统绘画教学模式，在具体的艺术实践中不断地发展完善，才能使架上绘画实现一 次现实时代境遇赋予的有艺术史意义的“回归”，并使其焕发出勃勃生机。 关键词： 审美艺术公共性 社会公有现实 具象求知活动 抽象求知活动 Abstract The Figurative Expressionism was first introduced and demonstrated at the oil painting department of China’s academy of fine art,by a renowned French-Chinese lecturer,a famed painter as well,in the year of 1991. This west- stemed theory has been well kept and practiced from then on ,by a handsome group of open-minded Chinese artists, and considerate achievements has been accomplished. They stick to their own artistic pursue, and keep to their own innermost intentions, renewing the theories formerly gained, in the aim to close with the ‘true things’in the art.They intend to make the ‘endangered’ on-shelf painting take on concrete visual images ,as well as public common sense, and try to treated art as a kind of visual study, by means of scientific manner. While this theory seems to beat about the bush when confronted with the public-based aesthetic sense which was figured out and enlarged by the Modernism.Swiss painter Alberto Jiacometti seems being worshiped so much that their paintings take on his superficial features rather than understand the theory’s underlying spirits, thus regretfully these contemporary Figurative Expressionists are going to abandon the public-based