發(fā)布時(shí)間：2017-12-31 07:22

  本文關(guān)鍵詞：康定斯基抽象藝術(shù)理論及其對(duì)現(xiàn)代設(shè)計(jì)理念的影響　出處：《山東大學(xué)》2017年博士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 康定斯基 抽象藝術(shù)理論 現(xiàn)代設(shè)計(jì)理念

【摘要】：瓦西里·康定斯基((?),1866—1944)是出生于俄羅斯的抽象主義畫(huà)家和藝術(shù)理論家。他是二十世紀(jì)西方現(xiàn)代抽象主義繪畫(huà)的奠基人,是現(xiàn)代藝術(shù)革命的先鋒,也是"世界現(xiàn)代設(shè)計(jì)的搖籃"——德國(guó)包豪斯學(xué)院最重要的"形式大師"之一�？刀ㄋ够�最突出的藝術(shù)成就集中在他的抽象藝術(shù)理論方面:《論藝術(shù)的精神》一書(shū)被譽(yù)為現(xiàn)代抽象藝術(shù)的"圣經(jīng)"和"啟示錄",《點(diǎn)·線·面》被奉為"形式美學(xué)的名著"等等。它們對(duì)現(xiàn)代抽象繪畫(huà)和現(xiàn)代設(shè)計(jì)均產(chǎn)生了廣泛而深遠(yuǎn)的影響。他的抽象藝術(shù)理論以"內(nèi)在需要"為基本原則,其主要審美特征是"主體性"和"表現(xiàn)性"。目前,中國(guó)設(shè)計(jì)遭遇了"中國(guó)制造"的瓶頸,創(chuàng)造力不足的問(wèn)題困擾著設(shè)計(jì)界。人們掀起了重新審視、借鑒"包豪斯"現(xiàn)代設(shè)計(jì)理念的熱潮�？刀ㄋ够�作為"包豪斯"重要的一員,他的抽象藝術(shù)理論及其對(duì)現(xiàn)代設(shè)計(jì)理念的影響值得結(jié)合時(shí)代精神進(jìn)行梳理。本文希望在對(duì)其歷史價(jià)值、現(xiàn)實(shí)意義和理論局限的探討中拋磚引玉,為中國(guó)當(dāng)代設(shè)計(jì)問(wèn)題的解決帶來(lái)一定的思考。本文主要包含緒論、主體和結(jié)語(yǔ)三大部分。緒論主要是對(duì)選題背景、研究現(xiàn)狀綜述以及研究方法、研究目的和創(chuàng)新之處三個(gè)部分進(jìn)行了論述和說(shuō)明。第一部分首先闡明本文與已有的康定斯基相關(guān)研究的最大不同之處:本文是從繪畫(huà)與設(shè)計(jì)的跨學(xué)科視野出發(fā),研究康定斯基的抽象藝術(shù)理論與現(xiàn)代設(shè)計(jì)理念的關(guān)系及其對(duì)現(xiàn)代設(shè)計(jì)理念的影響。其次,概述研究對(duì)象康定斯基的背景和主要藝術(shù)成就。第二部分分類(lèi)詳細(xì)介紹目前本研究的國(guó)內(nèi)外現(xiàn)狀。國(guó)內(nèi)外研究成果主要集中在他對(duì)現(xiàn)代繪畫(huà)理念和實(shí)踐的影響方面,與本文相近的專(zhuān)題研究比較薄弱。雖然還有一些與本研究相關(guān)的論斷頗有見(jiàn)地,但是常散見(jiàn)于設(shè)計(jì)類(lèi)、美學(xué)類(lèi)、設(shè)計(jì)美學(xué)類(lèi)以及包豪斯叢書(shū)等著作之中。就國(guó)外研究現(xiàn)狀而言,俄羅斯近年來(lái)越來(lái)越重視對(duì)康定斯基的全面研究,西方一些國(guó)家也加大了對(duì)包豪斯學(xué)院進(jìn)行研究和系統(tǒng)梳理的力度,其中對(duì)康定斯基與"包豪斯"及現(xiàn)代設(shè)計(jì)的關(guān)系研究也在逐漸深入。就國(guó)內(nèi)研究成果而論,設(shè)計(jì)和美學(xué)領(lǐng)域的專(zhuān)家、學(xué)者們已然意識(shí)到了康定斯基的重要地位和影響,但是相關(guān)專(zhuān)項(xiàng)、系統(tǒng)研究還有待加強(qiáng)。第三部分概述本文的研究方法、研究目的和創(chuàng)新之處,闡述本文的理論和應(yīng)用價(jià)值。第一章探討康定斯基抽象藝術(shù)理論的美學(xué)淵源。首先剖析了康定斯基抽象藝術(shù)理論產(chǎn)生的文化藝術(shù)背景。俄羅斯文化藝術(shù)對(duì)康定斯基的精神滋養(yǎng),啟發(fā)著他的抽象藝術(shù)思維,成為他的創(chuàng)作母題、形式和風(fēng)格的重要源泉。西方現(xiàn)代繪畫(huà)流變的沖擊和積淀,引發(fā)了康定斯基抽象藝術(shù)及其理論從內(nèi)在精神到外在形式的全面革命,推動(dòng)著他的藝術(shù)實(shí)現(xiàn)了由具象到抽象的本質(zhì)跨越。文化審美的滋養(yǎng)是深入骨髓的,繪畫(huà)流變的沖擊則為他的抽象藝術(shù)變革積蓄著形式和精神的力量,它們的合力共同催生了康定斯基的抽象藝術(shù)理論。其次,挖掘了康定斯基抽象藝術(shù)理論的美學(xué)思想淵源�？档玛P(guān)于"美"的本質(zhì)的主觀論、"自由"精神及其"理性神學(xué)"的思想,啟迪著康定斯基關(guān)于藝術(shù)之"美"的"主體性"思考以及理性形式的思辨。黑格爾思想體系中處于首要地位的"理念"和"精神",被康定斯基發(fā)展成為"內(nèi)在精神"是藝術(shù)的靈魂所在的核心抽象藝術(shù)理念。尼采關(guān)于"意志主體"、"酒神精神"的思想以及社會(huì)巨變的預(yù)言,助推康定斯基藝術(shù)精神"主體性"的凸顯和對(duì)物象的消弭。他企望通過(guò)藝術(shù)重建新時(shí)代的精神之塔。康定斯基對(duì)于柏格森、克羅齊"生命哲學(xué)"及其核心概念"直覺(jué)"與"表現(xiàn)"成果的吸收,促使他將"藝術(shù)形式的根源"訴諸于直覺(jué)的選擇,從而創(chuàng)造出心靈直覺(jué)化的"表現(xiàn)性"視覺(jué)構(gòu)圖,使現(xiàn)代主義的"表現(xiàn)"概念具有了"生命本體的根基"。神智學(xué)的"神秘主義"以及關(guān)于自然和宇宙法則的構(gòu)造理念等促生著康定斯基的抽象形式及其構(gòu)成理念,加速著他的藝術(shù)抽象化進(jìn)程。德國(guó)沃林格感受到了現(xiàn)代藝術(shù)中抽象審美的萌動(dòng),以《抽象與移情》一書(shū)論證了藝術(shù)由移情審美走向抽象審美的變奏。他的"直覺(jué)"、"表現(xiàn)"和"抽象"被康定斯基發(fā)展成為"表現(xiàn)性抽象"和"構(gòu)成性抽象"的合體。這成為康定斯基抽象藝術(shù)理論的主要美學(xué)特征,深刻影響著20世紀(jì)現(xiàn)代藝術(shù)和設(shè)計(jì)的美學(xué)進(jìn)程及審美理念。第二章探討康定斯基的抽象藝術(shù)理論及其變革指向,思考他究竟為現(xiàn)代設(shè)計(jì)理念貢獻(xiàn)了哪些方面的變革成果。這是以他的抽象藝術(shù)理論為基礎(chǔ)系統(tǒng)梳理其主要內(nèi)容和變革的重要部分。經(jīng)研究后發(fā)現(xiàn),他的抽象藝術(shù)變革內(nèi)容主要體現(xiàn)在以下四個(gè)方面:抽象視覺(jué)語(yǔ)言體系的建構(gòu),"結(jié)構(gòu)性"造型變革,構(gòu)成理念的審美精神嬗變,以及藝術(shù)綜合觀的美學(xué)前瞻性。他用脫離了對(duì)物象的依附性,具有藝術(shù)家主體意志的點(diǎn)、線、面和色彩語(yǔ)言完成了對(duì)抽象藝術(shù)視覺(jué)語(yǔ)言體系的建構(gòu);他用"結(jié)構(gòu)性"的造型方式顛覆了古典藝術(shù)的造型觀和審美觀,造型由立體走向平面;他以"內(nèi)在需要"為基本原則的構(gòu)成理念徹底變革了整個(gè)構(gòu)圖平面,審美精神發(fā)生了"質(zhì)"的嬗變;藝術(shù)綜合觀對(duì)學(xué)科跨界的提倡,為普適性和國(guó)際性藝術(shù)語(yǔ)言的探索開(kāi)拓了新的思路,有助于實(shí)現(xiàn)藝術(shù)和媒介的綜合,豐富審美形式,其美學(xué)前瞻性意義重大。他的抽象藝術(shù)理論在這四個(gè)方面的變革成果成為了由傳統(tǒng)設(shè)計(jì)步入現(xiàn)代設(shè)計(jì)的重要階梯,對(duì)現(xiàn)代設(shè)計(jì)理念產(chǎn)生了巨大影響。第三章進(jìn)入本文的核心——康定斯基抽象藝術(shù)理論的變革成果對(duì)現(xiàn)代設(shè)計(jì)理念的影響究竟何在?首先,通過(guò)對(duì)康定斯基在"現(xiàn)代設(shè)計(jì)教育的誕生地"——包豪斯學(xué)院的核心地位以及他對(duì)現(xiàn)代設(shè)計(jì)基礎(chǔ)課程體系的奠基作用的闡述,來(lái)說(shuō)明和佐證他對(duì)現(xiàn)代設(shè)計(jì)教育教學(xué)和現(xiàn)代設(shè)計(jì)理念的深刻影響。其次,康定斯基抽象藝術(shù)理論的"主體性"原則對(duì)于培養(yǎng)學(xué)生"創(chuàng)造力"的現(xiàn)代設(shè)計(jì)教學(xué)理念的確立功不可沒(méi),它所帶來(lái)的"原創(chuàng)精神"也成為了現(xiàn)代設(shè)計(jì)最重要的理念和特征。"主體性"賦予了產(chǎn)品"有意味"的精神價(jià)值,有助于實(shí)現(xiàn)產(chǎn)品實(shí)用功能與精神價(jià)值的完美統(tǒng)一。"主體性"原則將現(xiàn)代設(shè)計(jì)的"創(chuàng)造性"理念推至高峰。再者,康定斯基的重要貢獻(xiàn)之一便是把現(xiàn)代設(shè)計(jì)推向平面審美。他的平面形式美學(xué)推動(dòng)著現(xiàn)代設(shè)計(jì)"藝術(shù)與技術(shù)新的統(tǒng)一"理念的實(shí)現(xiàn),打破了藝術(shù)與生活的壁壘。最后,康定斯基的構(gòu)成理念孕育著現(xiàn)代設(shè)計(jì)的抽象思維模式,它成為了現(xiàn)代設(shè)計(jì)的基本思維方式�？梢哉f(shuō),康定斯基改變了設(shè)計(jì)語(yǔ)言形式、造型方式及構(gòu)成理念,塑造了新的設(shè)計(jì)思維模式和創(chuàng)造手段,它們成為了現(xiàn)代設(shè)計(jì)理念的"脊髓"。這些變革成果在歷史的長(zhǎng)河中逐漸積淀成為"新"的藝術(shù)傳統(tǒng),現(xiàn)代設(shè)計(jì)既由此發(fā)展而來(lái)又沿此傳承下去,設(shè)計(jì)審美觀也因此發(fā)生了翻天覆地的變化,并有可能成為"最持久的藝術(shù)傳統(tǒng)"。第四章進(jìn)一步從康定斯基抽象藝術(shù)理論對(duì)現(xiàn)代設(shè)計(jì)實(shí)踐的影響入手,著重從以下兩個(gè)方面進(jìn)行研究:一、康定斯基抽象藝術(shù)理論對(duì)世界現(xiàn)代設(shè)計(jì)實(shí)踐的影響。他的抽象藝術(shù)理論在世界現(xiàn)代設(shè)計(jì)領(lǐng)域得到廣泛傳播,影響著多個(gè)國(guó)家的現(xiàn)代設(shè)計(jì)實(shí)踐。二、康定斯基抽象藝術(shù)理論對(duì)中國(guó)現(xiàn)代設(shè)計(jì)實(shí)踐的影響。這種影響主要體現(xiàn)在對(duì)中國(guó)設(shè)計(jì)"現(xiàn)代性"的推進(jìn)、與中國(guó)傳統(tǒng)藝術(shù)中"抽象性"的審美互補(bǔ)以及推動(dòng)著中國(guó)現(xiàn)代繪畫(huà)與設(shè)計(jì)的審美融合等等。第五章綜合評(píng)述康定斯基現(xiàn)代設(shè)計(jì)思想具有怎樣的美學(xué)價(jià)值和理論局限。它的美學(xué)價(jià)值主要包括以下三點(diǎn):一、"內(nèi)在精神"成為現(xiàn)代設(shè)計(jì)形式的"意味",豐富了現(xiàn)代設(shè)計(jì)的審美意象和原創(chuàng)精神;二、康定斯基以"音樂(lè)性"的設(shè)計(jì)語(yǔ)言形式推動(dòng)西方美學(xué)語(yǔ)言的轉(zhuǎn)向,新的設(shè)計(jì)語(yǔ)言形式產(chǎn)生并帶來(lái)新的審美理想和審美體驗(yàn);三、康定斯基的抽象藝術(shù)理論促進(jìn)了構(gòu)成主義美學(xué)與現(xiàn)代設(shè)計(jì)理念的結(jié)合,有助于實(shí)現(xiàn)設(shè)計(jì)審美的本質(zhì)表達(dá)以及媒介審美形式的多樣化發(fā)展。理論局限主要為:一、康定斯基的現(xiàn)代設(shè)計(jì)美學(xué)思想陷入多重悖論,其解決方法仍需繼續(xù)探索;二、康定斯基的設(shè)計(jì)形式與"內(nèi)在精神"之間相互轉(zhuǎn)化的矛盾尚待調(diào)和。結(jié)語(yǔ)部分重點(diǎn)回答兩個(gè)問(wèn)題:一、康定斯基抽象藝術(shù)理論對(duì)于現(xiàn)代設(shè)計(jì)理念的價(jià)值何在。這是對(duì)全文的總結(jié)。他抽象藝術(shù)理論的"內(nèi)在精神"革命以及由此而引發(fā)的抽象視覺(jué)語(yǔ)言體系、造型觀念、構(gòu)成理念等系列革命,促生著現(xiàn)代設(shè)計(jì)理念,推動(dòng)設(shè)計(jì)在變革中由"古典"走向"現(xiàn)代",奠基了現(xiàn)代設(shè)計(jì)發(fā)展的基本方向。二、展望康定斯基抽象藝術(shù)理論對(duì)于中國(guó)當(dāng)代設(shè)計(jì)的意義,旨在拋出引玉之磚,希望能夠結(jié)合時(shí)代精神發(fā)掘康定斯基現(xiàn)代設(shè)計(jì)理念中的智慧和閃光點(diǎn),同時(shí)也看到其中的不足,為中國(guó)當(dāng)代設(shè)計(jì)走向"中國(guó)創(chuàng)造"、"中國(guó)智造"的設(shè)計(jì)轉(zhuǎn)型帶來(lái)新的思考和啟示。
[Abstract]:Vasily Kandinsky ((?), 1866 - 1944) is a Russian born abstract painter and art theorist. He is the founder of the twentieth Century western modern abstract painting, is a pioneer of modern art revolution, "the world is the cradle of modern design" -- Germany Bauhaus school the most important form of "master" is one of the most prominent Kandinsky. The artistic achievement focused on his abstract art theory: "on the spirit of art" a book known as the modern abstract art "Bible" and "Revelation", "point line plane" was regarded as a form of "aesthetic masterpiece" and so on. They are modern abstract painting and modern design are produced a broad and far-reaching impact. His abstract art theory in "internal needs" as the basic principle, the main aesthetic characteristics of "subjectivity" and "performance". At present, China design suffered a "bottleneck Chinese manufacturing", creativity The problems plaguing the design world. People set off again, from the "Bauhaus" concept of modern design. The upsurge of Kandinsky as an important member of the Bauhaus ", his abstract art theory and its influence on modern design theory is combined with the spirit of the times. This paper analyzed in the hope of its historical value, a discussion of reality the significance and limitation of some thinking to solve the problem. China contemporary design mainly includes the introduction, main body and conclusion of three parts. The introduction is mainly about the background, the present research and the research methods, the three part of the research purpose and innovation are discussed. The first part of the study of Kandinsky this paper first expounded and the biggest difference is: This paper starting from a multidisciplinary perspective of painting and design, abstract art of Kandinsky The relationship between theory and modern design concept and its influence on the modern design concept. Secondly, the background and the main research object of Kandinsky's artistic achievement summary. The second part introduces the classification of the status quo at home and abroad in this study. The research results at home and abroad mainly focus on his influence on modern painting idea and practice, this paper studies and similar relatively weak. Although there are some opinions relevant to this research conclusion quite often, but scattered in design, aesthetics, design aesthetics and Bauhaus books and other writings. The foreign research current situation, Russia in recent years more and more attention to the comprehensive study on Kandinsky, some western countries have increased the research and the systematic analysis of Bauhaus efforts, which study on the relationship between Kandinsky and the "Bauhaus" and modern design in the country is gradually deepening. In terms of research results, experts in the field of design and aesthetics, scholars have realized the important status and influence of Kandinsky, but the special research system, and needs to be strengthened. The third part summarizes the research methods, research purposes and innovations, this paper expounds the theoretical and practical value. The first chapter discusses the origin of Kandinsky's aesthetics abstract art theory. First analyzes Kandinsky abstract art theory cultural and artistic background. The spiritual nourishment of Russian culture art of Kandinsky, inspired his abstract art thought, as his motif, an important source of the form and style of the modern western painting. The impact of rheology and accumulation, which caused Kandinsky abstract art and its theory from the inner spirit to form a total revolution to promote his art is realized from the concrete to the abstract nature of cross culture. The aesthetic is the nourishment of the well ingrained the impact of rheological, painting for his abstract art form and spirit of the transformation of savings strength, they together gave birth to Kandinsky's abstract art theory. Secondly, the aesthetic thought of mining source Kandinsky abstract art theory. Kant's "beauty" of the nature of the subjective theory, "free the spirit of" and "rational theology" thought, enlightenment of Kandinsky about the art of the "beauty" of the "subjectivity" thinking and rational thinking. The form is at the most important position in Hagel's ideological system of "idea" and "spirit", developed by Kandinsky as the "inner spirit" is the soul of art is the core of abstract art Nietzsche's philosophy. "The will of the subject", "Dionysian spirit" and the idea of social upheaval prophecy, boost Kandinsky's artistic spirit "subjectivity" highlights of the images and eliminate. He hope through art Surgical reconstruction of the spirit of the new era. The tower of Kandinsky for Bergson, Croce "philosophy of life" and the core concept of "intuition" and "expression" results of absorption, prompted him to "root" of the art form to resort to intuitive choice, thus creating a spiritual intuitive "performance" visual composition, make modernism the concept of "performance" is the foundation of life ontology. Theosophical mysticism and on the nature and law of the universe from a tectonic concept of Kandinsky's abstract form and constitute a concept, accelerate the artistic abstraction process. He Wolinge Germany felt the sprout of modern art in the abstract aesthetic, to < > Abstract andempathy book demonstrates the art aesthetic trend of aesthetic empathy by the abstract variations. His "intuition", "performance" and "abstract" developed by Kandinsky as "expressive abstraction" and "form of abstraction" that fit. Become the main aesthetic characteristics of Kandinsky abstract art theory, a profound impact on modern art and design in twentieth Century the aesthetic process and aesthetic philosophy. The second chapter discusses the abstract art theory of Kandinsky and its reform direction, thinking he contributed what changes to the results exactly the idea of modern design. This is an important part in his abstract art theory system combing the main content and change. The study found that his abstract art change mainly reflected in the following four aspects: the construction of abstract visual language system, the "structural" shape change, aesthetic spirit and artistic evolution constitute a concept, comprehensive view of aesthetics. He used prospective out of dependence on the object the artists will have, point, line, surface and color language to complete the construction of abstract art visual language system; he used the "structural" Other ways to subvert the classical art style and aesthetic values from other stereo to plane; he "needs" as the basic principle of the constitution concept revolutionized the whole composition plane, the "quality" of the evolution of the aesthetic spirit of art; comprehensive view of advocating for cross discipline, opened up a new way for exploration universal and international art language, comprehensive help art and media, rich aesthetic form, the meaning of beauty of prospective major. His abstract art theory transformation results in these four aspects has become an important step from the traditional design into the modern design, have great influence on the modern design idea enter the core of the paper. The third chapter -- influence of Kandinsky's abstract art theory revolution achievements on the modern design idea of what exactly? First of all, according to Kandinsky in "the birthplace of modern design education" The core position of Bauhaus and how he foundation role to modern design based curriculum system, and to explain the evidence of his profound influence on modern design education and modern design concepts. Secondly, Kandinsky's abstract art theory "subjectivity" principle for the establishment of modern design concept of teaching to cultivate students "creativity". No, it brings the "original spirit" has become the most important modern design ideas and characteristics. The "subjectivity" gives the product a "meaningful" spiritual value, helps to achieve the perfect unity of pragmatic and spiritual value of the products. The "subjectivity" principle of modern design "creative" the idea is pushed to the peak. Moreover, one of the most important contribution of Kandinsky is to put modern design into the plane. His aesthetic plane form aesthetics to promote modern design art and technology in the new unified "concept Realize, art and life broke barriers. Finally, a concept of Kandinsky gave birth to the modern design of abstract thinking mode, it has become the basic way of thinking of modern design. It can be said that Kandinsky changed the design form of the language, style and form ideas, and create a new design thinking and creative means, they become the modern design idea of the "spinal cord". These changes result in the long history of accumulation gradually become the "new" artistic tradition, modern design is thus evolved and along this heritage, design aesthetics have undergone great changes and turn the world upside down, could become the most lasting artistic traditions. "Fourth from the influence of Kandinsky chapter further abstract art theory on modern design practice with focuses on the following two aspects: first, Kandinsky's abstract art theory to the modern world. Considering the effect of practice. His abstract art theory has been widely spread in the world of modern design, modern design affects the practice of many countries. Two, the influence of Kandinsky on modern abstract art theory China design practice. This effect is mainly reflected in the design of China "Modernity" in advance, and China traditional art "abstract" aesthetic complementary and pushed China modern painting and design aesthetic fusion and so on. In the fifth chapter, a comprehensive review of Kandinsky modern design thought has what kind of aesthetic value and theoretical limitations. Its aesthetic value mainly includes the following three points: first, the "inner spirit" has become a modern design in the form of "means" rich the aesthetic image and original spirit of modern design; two, Kandinsky to "design language form of music" to promote western aesthetic language, design new language form and bring The new aesthetic ideal and aesthetic experience; three, Kandinsky's abstract art theory to promote the combination of aesthetics and modern design concept, is helpful to realize the essence of design expression of aesthetic and diversified media aesthetic form development. Theoretical limitations: first, the modern design aesthetics of Kandinsky into multiple solutions of the paradox. Still need to continue to explore; two, the contradiction between the mutual transformation of design form of Kandinsky and the "inner spirit" has yet to be reconciled. The conclusion part mainly answers two questions: first, what is the value in Kandinsky's abstract art theory for modern design. This is a summary of the full text. His abstract art theory "inner spirit" the revolution as well as the abstract visual language system, modeling concepts, ideas constitute a series of revolution, promoting modern design concept, designed to promote the transformation from the ancient " Code "to" modern ", the foundation of the basic direction of the development of modern design. Two, the prospect of Kandinsky abstract art theory for China contemporary design, to throw the bait, hoping to combine the spirit of the times of Kandinsky to explore the modern design concepts of wisdom and flash points, but also see the shortcomings, for Chinese contemporary design trends Chinese", "create Chinese made" the design transformation has brought new thinking and enlightenment.

【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J501

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本文編號(hào)：1358743