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早在本世纪上半叶,现代抽象主义之父康定斯基在其《论艺术的精神》一书中,不仅对视觉形态在绘画作品中的地位和价值做了肯定,而且对于抽象绘画、抽象形态的构成以及相互间的关系所形成的视觉在心理中的反应,也做了详细的阐述,他提出要将艺术作品中的精神性问题传达给观众,得出的这种纯粹的视觉形态要素的构成,是表达、体现人类精神领域最有效的方法。尽管康定斯基从形态上全面论证了精神性在抽象艺术中的可能性,但在那个时代,抽象艺术在文化反叛上的意义远甚于形态本身价值。一旦这种意义随着现代艺术的进程而逐渐消退的时候,抽象艺术似乎也完成了它的历史生命,然而也正是在这个时候,即那些非艺术的社会与文化的光环从它周围消退的时候,抽象艺术的一些本质的要素才凸现出来,但这恰恰是抽象艺术的创作最困难的时候。因为这时社会意识或者被大众文化所淹没,或者更关注对社会本身的形象性的描述。
As early as the first half of this century, Kandinsky, the father of modern abstraction, in his The Spirit of Art, affirmed not only the status and value of visual morphology in paintings, but also the abstraction of abstract painting The formation of the form and the relationship between the visual formed by the psychology of the response, but also made a detailed exposition, he proposed to convey the spirit of the artwork in the audience to the audience, come to this purely visual form elements Constitutes the most effective way to express and reflect the human spirit. Although Kandinsky formally demonstrated the possibility of spirituality in abstract art from a morphological perspective, the significance of abstract art in cultural rebellion at that time was far more than its own value. Once this sense diminishes with the progress of modern art, abstract art seems to have completed its historical life, but it is also at this very moment that the aura of non-artistic societies and cultures recedes from its surroundings At that time, some essential elements of abstract art came into being, but this is precisely the most difficult time for the creation of abstract art. Because then the social consciousness is either overwhelmed by mass culture or even more concerned with the pictorial description of society itself.