剖析現實主義孵化下的中西鄉土藝術之異同點－以米勒（1814-1875）•陳丹青（1953-）為例

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题名:	剖析現實主義孵化下的中西鄉土藝術之異同點－以米勒（1814-1875）•陳丹青（1953-）為例 Analyzing the Similarities and Differences of Chinese and Western Local Art Under the Incubation of Realism--Taking Jean-Francois Millet (1814-1875) and Chen Danqing (1953-) as an Example
作者:	張嘉奇
贡献者:	美術學系
关键词:	米勒陳丹青現實主義鄉土藝術 Jean-François Millet Chen Danqing realism local art
日期:	2022
上传时间:	2023-03-14 14:56:16 (UTC+8)
摘要:	19世紀偉大的「現實主義」（Realism）畫家讓－弗朗迪克•米勒（Jean-François Millet, 1814-1875），以多幅經典的農村人物畫作，讓愛好藝術的人士知曉他的繪畫天賦，以及其在法國藝壇的重要地位。在當時被官方和貴族壟斷的繪畫創作環境之下，他仍然固執地選擇為農民和社會中絕大部分底層階級人士發聲，將他們真實的生活情境通過畫筆詮釋出來，這種特殊的社會寫實繪畫風格，截然不同於權貴們所喜歡的虛無飄渺之美好畫面。本文筆者通過米勒繪畫階段的作品回顧，再結合當時法國的社會風氣和米勒的家庭背景，以及其繪畫經歷，來探討米勒其獨到於歐洲的繪畫藝術。至於中國這方面，陳丹青教授因為米勒等法國「巴比松畫派」（Barbizon School ）的優秀作品傳入中國，而獲得借鑑，1980年，他為了完成自己的畢業作品曾二度進西藏，並決定將自己的目光投入到藏族人民的生活習俗上。陳丹青所繪製的《西藏組畫》（1979-1980），一改國內的主流繪畫形式，簡單地說，即是將創作上的「主體性」和「目的性」從畫面中移除，使繪畫創作能按照其正常規律發展，不再被政治所掌控和利用，可以說真實地描繪了藏族人民的日常生活情景，畫作中蘊含著濃厚的人道主義（Humanism）精神，將藏族人民的樸實善良，野性雄壯等最真實的一面，全然地展現在國內觀眾的眼前，並獲得一致的好評。筆者對於中西兩位大師懷有共同的敬佩之情，米勒和陳丹青教授的鄉土繪畫讓他們在美術史上名留千史，備受好評。筆者在此，不僅藉由大量的研究資料，梳理出他們鄉土繪畫創作中的特性與共性，更試圖研究出中西不同文化背景之下，如何針對于鄉土繪畫題材，作一完整的畫面詮釋？　　文章第二章，先梳理出歐洲和中國現實主義的發展脈絡，研究在時代背景下，現實主義由孕育發展到成熟期所經歷的種種變化和挑戰，這有助於我們更明白米勒和陳丹青教授鄉土繪畫作品所描繪的時代背景和前因後果。文章第三章沿著時代的推進與回顧，總結了歐洲和中國鄉土藝術的發展和演變，並瞭解這一繪畫題材在歐洲和中國所經歷的變化，以及前輩藝術家們做出的努力。此外，筆者亦往後探討了鄉土藝術近年來的發展狀況。文章第四章和第五章，透過米勒和陳丹青教授繪畫作品的回顧和藝術資料的查閱，再結合當時法國和中國的的社會風氣和兩位藝術家的家庭背景，仔細地探討他們的學畫經歷及他們在創作上所展現的繪畫重要事蹟。值得一提的是，筆者亦將他們的繪畫經歷分階段式地進行討論研究，以便深入地剖析出兩位畫家在各個創作階段中的藝術風格轉變因由。文章第六章，筆者則著重於探討米勒和陳丹青在鄉土藝術繪畫創作中的共性與特性，除了探討他們的繪畫題材，人文精神和對抗繪畫主流的共性之外，也分析了他們在畫作風貌、色彩、構圖、畫家視角和畫作風貌所呈現出的差異性。第七章作為最終章，從多方面、多角度分析了米勒和陳丹青鄉土繪畫藝術中的藝術性價值和意義。　　擁有西洋美術史大師席位的米勒，可說是至今還一直是後輩畫家們所仰慕及值得學習的楷模，至於陳丹青對于西藏的描繪，也被認為是現今中國具有跨時代意義的繪畫藝術作品。筆者真誠地希望透過自己的研究心得，讓大家有了更全面性地瞭解兩位藝術家的創作風貌和他們具有藝術性價值的鄉土繪畫作品。 Jean-François Millet (1814-1875), the great "Realism" painter of the 19th century, painted many classic rural figures. Let art lovers know about his talent for painting and his important position in the French art scene. In the painting creation environment monopolized by officials and aristocrats at that time, he still stubbornly chose to speak for the peasants and the vast majority of the lower classes in society, and interpret their real life situations through brushes. This special social realism The painting style is completely different from the ethereal and ethereal beautiful pictures that the powerful people like. In this paper, the author explores Miller's unique painting art in Europe through the review of Miller's works at the stage of painting, combined with the French social atmosphere at that time, Miller's family background, and his painting experience. As for China, Professor Chen Danqing gained reference for the introduction of excellent works from the French "Barbizon School" such as Miller to China. In 1980, he went to Tibet twice to complete his graduation works. And decided to put his eyes on the living customs of the Tibetan people. Chen Danqing's "Tibet Group Paintings" (1979-1980) changed the mainstream non-painting form of domestic painting. It can be said that painting creation can develop according to its normal laws and is no longer controlled and used by politics. It can be said that it truly depicts the daily life of the Tibetan people. The most real side of kindness, wildness and majesty is fully displayed in front of the domestic audience and won unanimous praise. The author has common admiration for both Chinese and Western masters. The local paintings of Professors Miller and Chen Danqing have indeed made them famous in the history of art and are highly praised. Here, the author not only uses a lot of research materials to sort out the characteristics and commonalities of their rural painting creations, but also tries to study how to make a complete picture interpretation for the subject of rural painting under the different cultural backgrounds of China and the West. The second chapter of the article first sorts out the development of European and Chinese realism, and studies the various changes and challenges that realism has experienced from its inception to maturity under the background of the times, which helps us to understand Miller and Chen Danqing better. To teach the background of the times and the causes and consequences of the local paintings. The third chapter of the article summarizes the development and evolution of European and Chinese local art along with the advancement and review of the times, and understands the changes experienced by this painting theme in Europe and China, as well as the efforts made by the predecessors. In addition, the author also discusses the development of local art in recent years. Chapters 4 and 5 of the article, through the review of the paintings of Miller and Professor Chen Danqing and the review of art materials, combined with the social atmosphere of France and China at that time and the family background of the two artists, carefully discuss their painting learning. Experience and the important deeds of painting that they show in their creation. It is worth mentioning that the author also discussed and studied their painting experiences in stages, in order to deeply analyze the reasons for the changes in the artistic styles of the two painters in each stage of creation. In the sixth chapter of the article, the author focuses on discussing the commonalities and characteristics of Miller and Chen Danqing in the creation of local art paintings. In addition to discussing their painting themes, humanistic spirit and the commonalities of opposing the mainstream of painting, they also analyze their painting styles., color, composition, the painter's perspective and the differences in the style of the painting. The seventh chapter, as the final chapter, analyzes the artistic value and significance in the local painting art of Miller and Chen Danqing from various aspects and angles. Miller, who holds the seat of a master in the history of Western art, can be said to be a model admired and worth learning by younger painters to this day. As for Chen Danqing's depiction of Tibet, it is also considered to be a work of art with trans-epochal significance in today's China. The author sincerely hopes that through my research experience, everyone will have a more comprehensive understanding of the creative style of the two artists and their rural paintings with artistic value.
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