“分裂与重组”—论表现性绘画中的解构思想

发布时间：2019-04-13 10:26

【摘要】：进入20世纪的西方绘画，经历了艺术史上的一次彻彻底底的大解放。塞尚为现代绘画拉开了帷幕，以毕加索、马蒂斯为代表的抽象、表现、幻象等各类主义及立场应运而生。抛却了西方传统绘画形式理念的束缚，现代派无论在画面处理上的疯狂与创新，还是引发其创作主导思想的独树一帜，骨子里都渗透着强烈而深刻的表现性。是什么给了他们从传统的主体中分离的勇气？反叛的意义在于阐明自己与主体的关系，但不是完全违背客观。这种夸张的、直觉的特殊立意，甚至独断专行，正如德里达的解构主义把延续千年的西方思维传统——逻各斯中心主义推向风口浪尖一样，表现性画家们开始和传统西方绘画断腕决裂。本文所提指的“解构思想”不单纯指德里达的“解构主义”，传统意义上的解构主义思想是20世纪最具革命性又几近主导性的哲学思想，其影响力广泛波及到文学、语言学、美学、建筑、绘画、音乐等各个领域，在绘画领域其对现代表现性绘画的影响是巨大的。本文亦包含从表现性绘画的本体语言出发，视觉效用与创作意识上“解构思维”，强调画面的一些基本因素受解构的影响而脱离传统绘画的基本形式。通过对表现性绘画艺术手法和哲学思想方面的深入思考，我们应该相信表现性绘画中存在着解构，并引发了多种不同于前人的积极独创性及可能性。是艺术预言哲学也好，还是哲学指引艺术也好，相信解构思想对研究表现性绘画有着不可磨灭的作用，作为表现性绘画中的解构思想，其自身不仅是一种外在的形式符号，它同时存在于思想结构中，具有强大的内驱力。文章以不同视角观察表现性绘画中解构与重构思想的多元化形态，，尝试对其中存在的解构主义哲学简要论证，从而尽可能客观地剖析表现性绘画中由外到内的解构思想。其次通过对表现意义的总结，研究并掌握其实际价值，在今后的绘画创作中得到更多的启示。
[Abstract]:Western painting in the 20th century experienced a complete liberation in the history of art. Cezanne opened the curtain for modern painting, with Picasso, Matisse as the representative of the abstract, performance, illusion and other doctrines and positions came into being. Despite the bondage of the western traditional painting form idea, the modernist school permeates the strong and profound expression in both the craziness and the innovation in the picture processing, or the unique creation leading thought of the modernist school. What gave them the courage to separate from the traditional subjects? The meaning of rebellion is to clarify the relationship between itself and the subject, but not completely contrary to objectivity. This hyperbole, intuition, special idea, and even arbitrariness, just as Derrida's deconstructionism pushed the thousand years of Western tradition of thinking, logos centralism, to the top of the air, is the same thing as Derrida's deconstructionism has brought to the forefront of the millennium of Western thinking. Expressionists began to break their wrists with traditional Western painting. The deconstruction thought mentioned in this paper not only refers to Derrida's "deconstructivism", but the traditional deconstruction thought is the most revolutionary and nearly dominant philosophical thought in the 20th century, and its influence is widespread in literature and linguistics. Aesthetics, architecture, painting, music and other fields, in the field of painting its impact on modern expressive painting is enormous. This paper also includes "deconstructing thinking" in visual utility and creative consciousness from the Noumenon language of expressive painting, emphasizing that some basic factors of picture are influenced by deconstruction and deviate from the basic form of traditional painting. Through in-depth thinking on the artistic techniques and philosophical thoughts of expressive painting, we should believe that there is deconstruction in expressive painting, which leads to many kinds of positive originality and possibility which are different from those of predecessors. Whether it is the philosophy of artistic prophecy or the philosophy guiding art, it is believed that deconstruction has an indelible effect on the study of expressive painting. As the deconstruction thought in expressive painting, it is not only an external formal symbol, but also a kind of external formal symbol. It also exists in the ideological structure, with strong internal drive. In this paper, the diverse forms of deconstruction and reconstruction in expressive painting are observed from different angles, and the deconstructionism philosophy is briefly demonstrated, so as to analyze the deconstruction thought from outside to inside as objectively as possible. Secondly, through the summary of the significance of expression, study and grasp its practical value, in the future painting creation to get more inspiration.
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205

【共引文献】