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西方的形式分析缺乏统一的定义,术语混乱。这主要是因为该理论没有传统根基造成。形式分析的诸位学者中,罗杰·弗莱的影响最大,是弗莱把塞尚推上了艺术大师的宝座。本文用实例证明,弗莱用于阐释塞尚绘画的术语源于中国的画论。弗莱不仅用中国画论的术语捧红了塞尚,而且为当时西方的绘画理论和批评找到了一套新的评估准则。中国的形式分析理论和术语至少在宋朝已经很完备,到了明末清初,中国绘画已经达到形式分析的高峰,虽然中国没有采用形式分析这一术语。潘天寿是从这个传统中出来的。由于他对传统的自信,对传统题材和绘画语汇的不断创新以及当时政治压力的鞭策,他的画风获得巨变,达到了绘画形式美的顶峰。本文根据形式分析的标准以及绘画的客观标准,对潘天寿和塞尚在传统继承、构图章法、色彩、空白运用以及形式与意义的统一等方面进行客观比较,得出以下结论 :从形式分析的角度看,潘天寿的绘画比塞尚的绘画更优秀。不仅如此,潘天寿的绘画实践和理论总结都是一人完成,而塞尚的理论总结是由弗莱借助中国画论术语完成的。
Western formal analysis lacks a unified definition and terminology confusion. This is mainly because there is no traditional foundation for the theory. Roger Frye, the most influential scholar of formal analysis, was Frye’s move to put Cezanne on the throne of the masters of arts. This article uses examples to prove that the terminology Frye used to explain Cezanne’s painting stems from Chinese painting theory. Frye not only made famous Cezanne by the terminology of Chinese painting, but also found a new set of evaluation criteria for western painting theory and criticism at that time. At least, the theory and terminology of formal analysis in China was already complete at the Song dynasty. By the late Ming and early Qing dynasties, Chinese painting reached the peak of formal analysis, although China did not use the term formal analysis. Pan Tianshou out of this tradition. Due to his traditional self-confidence, constant innovation of traditional themes and painting vocabulary and the encouragement of political pressure at the time, his style of painting has undergone tremendous changes and reached the culmination of the aesthetic beauty of painting. Based on the standard of formal analysis and the objective criteria of painting, this article makes an objective comparison between Pan Tianshou and Cezanne in terms of traditional inheritance, constitutional law, color, blank use and unification of form and meaning, and draws the following conclusions: From the formal analysis From the point of view, Pan Tianshou’s paintings are better than Cezanne’s paintings. Not only that, Pan Tianshou’s painting practice and theoretical summary are completed, and Cezanne’s theoretical summary is completed by Frye with the help of Chinese painting theory terms.