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一般说来,作为社会意识形态之一的绘画艺术,是理性与情感的统一体,但东西方绘画艺术是存在差异的。娄莉的文章认为,西方绘画艺术情感因素是基子理性,科学的精神之上的,而中国画家更注重情感、直觉、偶然的因素。当今世界文化艺术的发展,已经冲破文化隔离的机制,西方艺术中科学理性的精神与东方作画时的情感宣泄将相互交融,形成新的层次上多姿多彩的世界艺术。中国绘画在西方艺术中的理性,科学精神融汇非理性的传统绘画来重新构建自己的现代艺术,而西方现代绘画也纷纷在东方艺术传统无意识的情感流露中寻找自己的观念。杨浩石对油画边线处理手法的探讨,曲湘建对现代绘画因素在油画风景写生技法中的潜在作用的探讨,也都具有学术价值和实践意义。 中国壁画历史的演进过程中,有些因素已自行消亡,而有些因素则会被吸收保留至今,对这些相对恒定因素的分析探讨至关重要。孟嗣徽的论文,以早期敦煌壁画为契机,探讨壁画艺术的空间结构与图像结构的关系,并着重分析藏于画面结构后的隐喻因素,以及由中国传统时空观影响所形成的表现手法。作者认为,建筑、壁画与空间是一种关系所在,一种互为形式的存在,各自既受制约于特定的环境,而对于对方来说又是主动的,最终达到互衬互补、相辅相成的效果。您见过古典小说《西游记?
In general, the art of painting as one of the social ideologies is a unity of reason and emotion, but there are differences in the art of painting between East and West. Lou Li’s article holds that the emotional factors of western painting art are based on the rationality of science and science while the Chinese painters pay more attention to emotional, intuition and accidental factors. The development of world culture and art has already broken through the mechanism of cultural isolation. The spirit of scientific rationality in Western art and the emotional catharsis of oriental painting will blend with each other to form a new level of colorful world art. Chinese painting, in the western art, integrates irrational traditional painting with rational and scientific spirit to reconstruct its own modern art. However, modern Western paintings also seek their own ideas in the traditional unconscious emotions of oriental art. Yang Haoshi’s discussion on the treatment of the edge of painting, Qu Xiangjian’s exploration of the potential role of modern painting in the sketching of oil painting landscapes also has academic value and practical significance. During the evolution of the history of Chinese murals, some of the factors have vanished on their own, while others will be absorbed and preserved so far. It is of crucial importance to analyze and analyze these relatively constant factors. Meng Sihui’s essay explores the relationship between the spatial structure and the image structure of the mural art by taking the early Dunhuang murals as an opportunity and focuses on analyzing the metaphors hidden in the structure of the picture and the expression tactics formed by the influence of the traditional Chinese space-time theory. The author believes that architecture, murals and space are a relationship, a mutual existence of each other, each subject to a particular environment, while for the other party is the initiative, and ultimately achieve mutual complementarity and complementarity effect . Have you seen the classic novel Journey to the West?