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20世纪初,英国著名艺术史家、批评家和美学家罗杰·弗莱在阐明其形式主义一现代主义理论时,援用了大量东方艺术思想资源,特别是中国的美学资源。弗莱发现了中国书法和绘画的魅力:对于绘画质地、笔触、书写与线条在艺术表达中的作用。而这些恰恰都是经过现代主义理论的阐发后才被凸现出来的艺术要素。他很自然地抓住东方资源,来为他激赏的西方现代派绘画艺术辩护。什么是书法?弗莱下过一个简明易懂的定义(当然比中国传统中的书法概念毛糙、简单得多):当这种线条想要达到的目标是在绝对确信的状态下作出的时候,我们称这样的线条为书法。弗莱的意思是,普通线条并不一定就是书法,只有当这种线
In the early 20th century, when Roger Frye, a famous British art historian, critic and esthetician, elucidated his Formalism-Modernism theory, he drew on a large amount of oriental artistic thought resources, especially China’s aesthetic resources. Fry discovered the charm of Chinese calligraphy and painting: the role of painting, brushwork, writing and lines in artistic expression. These are precisely the artistic elements that have been highlighted after the elaboration of modernist theories. He naturally grasped the Eastern resources to justify the Western art of modernist painting. What is calligraphy? Fly laid down a concise and easy definition (of course, than the traditional Chinese calligraphy concept rough, much simpler): When the line is to achieve the goal is to be made in absolute confidence, We call this line calligraphy. Fry means that ordinary lines are not necessarily calligraphy, only when such lines