摘要
中国绘画史的发展已经证明,"文学性"对绘画的创作与发展一直存在着一种潜移默化的影响。基于叙事、描述、想象、虚构、隐喻等文学模式的"文学性"与基于技术、材料、形式,非预设性、直觉、无意识、即兴想象等范畴的"绘画性"之间存在着显著的差异,这一差异不仅是作为门类的"文学"与"绘画"之间的最大差异,而且是绘画借助"文学性"这一文学表达模式的优势来发展自身的重要手段。该文从文学与绘画的潜在关系入手,从"文学性"向绘画领域的蔓延,科学认识"文学性"和"绘画性"这两个"种差"对于界定文学与绘画本质的意义,"文学性"与"绘画性"在中外绘画史上的相互博弈现象,鲁迅先生倡导的"新兴版画运动"融两者之长的探索价值以及对当下绘画创作的启示诸方面来对这一问题展开探究。
One of the marked characteristics in the history of Chinese arts is the ＂quality of picture＂ under Literary influence. ＂Quality of I.iterature＂ is abstracted from literary work＇s character of narrative,depiction,imagination and metaphor,but the ＂quality of picture＂ is abstracted from instinction and subconsciousness. These two qualities are surely different,however fine arts are influenced and benefited much from the ＂Quality of I.iterature＂. This article cites the ＂New Woodcut Movement＂ initiated by Lu Xun as an example to conduct a study on the following three aspects.a comparison of the nature between art and literature, the transforming of European woodcut into Chinese style,and the inspiration for ＂the New Woodcut Movement＂ on cotemporary art.
出处
《石河子大学学报（哲学社会科学版）》
2011年第3期88-92,共5页
Journal of Shihezi University(Philosophy and Social Sciences)
关键词
文学性
绘画性
鲁迅
新兴版画运动
quality of literature
quality of picture
Lu Xun
New Woodcut Movement
