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现代主义绘画通过反叛传统、创新形式表现出新的审美风貌与特点。因表现第二现实即心理世界与主观情感等,拓宽了审美领域。大多数画作在意象及表达上有反自然倾向,强调创作与欣赏的主体性参与,重视审美体验的模糊、直觉性。审美意象从“符号化”变为抽象化。形式美的寻求中,抽象性的表达要求审美者经验下理智的参与,这也是对日常经验和惯常理性审美的反叛与否定。新奇美的趋向呈现了现代审美时效的短暂与审美时尚的多变,体现了“陌生化”、反“审美疲劳”的追求。个体性审美的崛起中审美风格不再由崇高等传统范畴统领,丑陋与荒诞滋生。现代主义绘画展示了“内审美”与反经验艺术,艺术追求与风格的纷呈多变标示着多元审美时代的到来。
Modernist paintings show new aesthetic features and features through rebellious traditions and innovative forms. Due to the performance of the second reality that is, the psychological world and subjective feelings, broaden the aesthetic field. Most paintings have an anti-natural tendency in images and expressions, emphasizing the subjective participation of creation and appreciation, and emphasizing the vague and intuitive sense of aesthetic experience. The aesthetic image has changed from “symbolized ” to abstract. In the search for formal beauty, the abstract expression requires the rational participation of the aesthetic experience, which is also the rebellion and denial of the daily experience and the customary rational aesthetic. The tendency of novelty and beauty presents the short-term aesthetic and aesthetic changes in modern time, which embodies the pursuit of “unfamiliar ” and “aesthetic fatigue ”. The aesthetic style in the rise of individual aesthetic is no longer led by the traditional areas of loftiness, but ugly and absurd. Modernist paintings show the beauty of “internal aesthetic” and “anti-experience art”, and the changing of art pursuits and styles signify the advent of multi-aesthetic era.