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德国表现主义是在一股反传统的思潮中孕育而生,在创作方法上它摒弃了在欧洲长期占统治地位的模仿论和反映论,推崇极具个人色彩的表现论的美学。艺术家们在绘画创作中不再只是客观的描摹世界,而是根据自己内心的需求,把自己的主观情感、意象与幻想进行创作。与此同时,这一倾向与尼采的悲剧美学、弗洛伊德的精神分析学和柏格森的生命哲学形成交汇,产生了一种奇诡新颖的审美形态与艺术特征。
German Expressionism came into being in an anti-traditional trend of thought. In its method of creation, it abandoned the long-held theory of imitation and theory of reflection in Europe and respected the aesthetics of highly individualistic expressionism. Instead of just an objective description of the world in painting, artists create their own subjective feelings, images and fantasies according to their inner needs. At the same time, this tendency has formed a kind of strange and novel aesthetic form and artistic features with the intersection of Nietzsche’s tragedy aesthetics, Freudian psychoanalysis and Bergson’s life philosophy.