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根据西奥多·阿多诺的理论,随着常态的优美的消失,崇高似乎变成传统美学的唯一概念在当代艺术中继续存在下去。在对19世纪德国浪漫主义画家再现自然的反思中,卡斯帕·大卫·弗里德里希可以说是帮助我们审美地面对当代生活或思想危机的一个关键人物。当代艺术品中德国艺术家格哈德·里希特的照片绘画是弗里德里希影响20世纪的重要例证之一。国际艺术场景中这个类似的趋势,在许多艺术杰作中均有所体现——在紧张的精神氛围中,对恐怖的身体性体验被画家自身的创造性构图传达给观者。这提示我们,在美学领域,回归自然将需要我们进行更加深入的探讨。
According to Theodore Adorno’s theory, with the graceful disappearance of the norm, the only concept that sublime seems to be transformed into traditional aesthetics continues to exist in contemporary art. Caspar David Friedrich can be said to be a key figure in helping us to face the crisis of contemporary life or ideology aesthetically in the reflection of the naturalized 19th-century German romanticism. Photographing German artist Gerhard Richter in contemporary art is one of Friedrichrich’s 20th century examples. This similar trend in the international art scene is reflected in many masterpieces of the arts - in the intense mental atmosphere, the body experience of terror is conveyed to the viewer by his own creative composition. This prompts us that, in the field of aesthetics, returning to nature will require us to conduct more in-depth discussions.