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虽说“风格即人”,但在艺术史上真正独树一帜者,毕竟少数。本文从自然科学的角度入手,不仅在方法论上将自然科学与社会科学有机联系起来作了一次可贵的尝试,以别于某些命题因局限在社会科学内阐释不清的方法,而且在一定程度上论证了中国山水画风格及流派的形成与自然山水视觉效应在内的辩证统一联系。作者在承认人的社会性及社会性对个人风格形成具有重要作用的前提下,对以往所忽略了的人与自然怎样构成辩证的统一作出深入的探讨。作者得出这样的结论:一个独树一帜的山水画家的风格形成,不仅在于社会生活所铸造出的区别于他人的“个性”,更在于画家能否发现可以充分体现这个“个性”色彩的自然载体,只有主观的“我”和客体的某些视觉特征相吻合时,才能碰撞出新的风格。 论文原载《朵云》1992年第三期,1994年12月获第一届全国青年优秀社会科学成果三等奖,是此次参赛论文中唯一中奖的美术学科的论文。限于篇幅,本刊仅节选第三部分发表。
Although “style is human”, but in the art history is truly unique, after all, a minority. Starting from the perspective of natural science, this article not only makes an invaluable attempt to organically link natural science with social science in a methodological way, but also differs from certain propositions in that they are not clearly explained in social science because of their limitations. It demonstrates the dialectical unity between the Chinese landscape painting style and the formation of schools and the natural landscape visual effects. On the premise of recognizing the social and social nature of human beings as an important part of the formation of personal style, the author makes an in-depth discussion on how dialectical unity between man and nature in the past has been neglected. The author concludes that the formation of a unique style of landscape painter not only lies in the “personality” that is shaped by social life and is different from others, but also whether the artist can find a natural carrier that can fully reflect this “individuality” Only the subjective “I” and some of the visual characteristics of the object coincide, you can hit a new style. Paper originally contained “cloud” 1992 the third period, in December 1994 won the first session of the National Youth outstanding social science prize three, is the only entry in the winning papers of art disciplines. Due to space limitations, this article only excerpts published the third part.