中国传统绘画的装饰趣味与后现代主义精神的契合.docVIP

中国传统绘画的装饰趣味与后现代主义精神的契合 摘要：山水画的装饰性和抽象性在中国山水画的发展中具有广阔的开拓空间。青绿山水、金碧山水巧妙地运用了色彩的装饰性，气势恢宏，扩张力极强。古代很多杰出山水画家，都运用过装饰手法，展子虔、李家父子都是青绿山水的高手。隋唐以后“文人画”的兴起，水墨山水逐渐占据统治地位，装饰性山水逐渐变为从属。但在一些主流的山水画中，始终在山石，云烟和整体把握上保留了装饰性的风格。绘画艺术的发展具有延续性和不确定性，很难把握其在特定时期会出现什么特定的面貌，这就为青绿山水提供了重塑辉煌的可能性。在后现代主义的精神狂欢中，传统美学趣味和深度的消失使得装饰作为一种艺术方式被人们所重视，它以秩序化、规律化、程式化、理想化为要求，改变和美化事物，形成合乎人类需要、与人类审美理想相统一相和谐的美的形态。 关键词：装饰性 ，后现代主义 Abstract: The landscape of the decorative and abstract landscape in Chinas development has broad development space. Qinlv landscape、Jinbi landscape clever use of decorative color, magnificent momentum, strong expansion force. Many ancient landscape artist, and both methods were used in decoration, show Zhan ziqian, Lee Sons of a master qinlv landscape. After the Sui and Tang Dynasties literati painting The rise of ink gradually dominant landscape, decorative landscape gradually turned into a subordinate. However, the landscape in some of the mainstream, always in the rocks, and the overall grasp on Yunyan retained the decorative style. The development of painting continuity and uncertainties, it is difficult to grasp the specific period of time in what will be the face of a particular, which provides for remodeling qinlv landscape of the possibility of glory. Post-modernism in the spirit of carnival, the traditional aesthetic taste and depth of the loss making decorative arts as a way of people paying attention to it in order to order, and the law, and stylized, idealized as a request to change and make it more beautiful things, the formation of meet human needs, and human aesthetic ideal of a harmonious unity of the beautiful patterns. Keywords: decorative, Postmodernism 前言 装饰绘画在我国美术发展史上具有的重要意义与地位。装饰意味作为一种艺术现象，东西方艺术界和美学家都极为重视。德国著名现象学美学家莫里茨·盖格尔认为：“在艺术的发展过程中……只有两种目的有必要被当作艺术最突出的目的指出来，这就是宗教和装饰。”（1）我国古代绘画也体现出这两者十分紧密的关联，从艺术的演进历程中可以发现我国绘画的发展趋向：“古代侧重于图案装饰方面，后来渐次变化为曲线美的表现。变化的原因，批评家都归结到印度艺术跟印度佛教同时输入中国的影响。因为印度艺术的输入，间接地就输入了西方的文化和艺术。”（2）印度艺术及他们艺术中的装饰意味对我们传统绘画的启示，其意义是不言自明的，但我们民族的装饰意味始终占主导地位。 一，中国传统