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在中国古代人物画的发展进程中,人物画作品中的主体形象在画家的艺术创造和历史语境的共同作用下,蕴含着一定悲剧感。这种悲剧感既不同于西方艺术中崇高的悲剧精神,也有别于我们日常言语中的“悲剧”。更倾向于“与环境不相符合的表情冷漠与淡然,我们称之为表情的缺失——无表情状态”。①一、审美范畴中的悲剧悲剧一词的使用可分为日常用语和美学术语。前者是指日常生活中不幸的遭遇,后者指在艺术作品中表现出来的具有一定矛盾冲突的审美形态。而艺术中的悲剧正是对现实的超越与反映,表达了人的生存困境与自我设定的价值目标的失落与毁灭“。悲剧即将人生
In the process of the development of ancient Chinese figure painting, the main image in the figure painting works implies a certain sense of tragedy under the joint action of artist’s artistic creation and historical context. This sense of tragedy is different from the lofty tragedy spirit in western art and from the ”tragedy“ in our daily language. More inclined to ”and the environment does not match the expression of indifference and indifference, we call the lack of expression - no expression “. First, the tragedy in the aesthetic category Tragedy The use of the term can be divided into everyday language and aesthetic terminology. The former refers to the unfortunate experience in daily life, and the latter refers to the aesthetic forms that show some contradictions and conflicts in works of art. However, the tragedy in art is the transcendence and reflection of reality, which expresses the loss and destruction of human existence predicament and self-set value target. ”