刘国松绘画抽象意境的自由表现

发布时间：2018-01-04 06:22

本文关键词：刘国松绘画抽象意境的自由表现　出处：《艺术探索》2016年04期 　论文类型：期刊论文

【摘要】：刘国松所谓的"抽象意境的自由表现",是一种画面中蕴含着中国古代山水画中经常能体会到的某些精神境界,却出之以与山水似乎有关而又似是而非,既抽象又决非全然抽象,抽象中似乎有具象,但此种造型又决非传统"似与不似之间"的具象范围。保持着与具体山水的结构、气势及若干"山水的感觉"的某种联系,是刘国松放弃西方式绝对"抽象",而回归东方"抽象意境的自由表现"的审美基础。从学习西方的纯形式性质的抽象表现主义向东方式抽象意境回归,是他艺术发展的一个特别重要的转折。他的"抽象意境的自由表现"使他的变革中国画的实验产生了一个重大的转折:真正摆脱笔墨的羁绊而使制作登大雅之堂;向中国的"意境"和诗画结合传统回归而又予以革命性的升华。
[Abstract]:Liu Guosong's so-called "the free expression of abstract artistic conception" is a kind of picture containing some spiritual realm which can often be experienced in ancient Chinese landscape painting, but it seems to be related to the landscape and specious. Both abstract and not completely abstract, abstract seems to have concrete, but this form is not the traditional "like and do not appear" between the scope of the concrete structure of the mountains and rivers. A certain connection between momentum and a number of "feelings of the landscape" is that Liu Guosong gave up the absolute "abstraction" of the western way. The aesthetic basis of returning to the oriental "free expression of abstract artistic conception" is from learning the pure form nature of the western abstract expressionism to the eastern way of abstract artistic conception. It is a particularly important turning point in the development of his art. His "Free expression of Abstract artistic Conception" has produced a major turning point in his experiment of reforming Chinese painting:. Really get rid of the fetters of ink and pen and make the production of great elegance hall; To China's "artistic conception" and poetry and painting combined with the traditional return to the revolutionary sublimation.
【作者单位】：四川大学艺术学院;
【分类号】：J212
【正文快照】： 在20世纪70年代,刘国松艺术的另一重大的转折,即改变了他的“抽象”等于“现代”的西方式“现代艺术”观念,而向东方意味的“抽象意境的自由表现”回归,此即他所说: 我对于绘画史发展的看法,早已由“写实、写意、抽象”而修改为“写实、写意、抽象意境的自由表现”,不再坚持

【相似文献】