| “印象”何以东方:《敦煌印象》中的时间性 |
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| 引用本文： | 胡范铸,胡亦名.“印象”何以东方:《敦煌印象》中的时间性[J].华东师范大学学报(哲学社会科学版),2012(2):142-145,157. |
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| 作者姓名： | 胡范铸 胡亦名 |
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| 作者单位： | 新疆师范大学中亚汉语国际教育研究中心;上海外国语大学 |
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| 摘 要： | 在中国现代美术史上,孔柏基的《敦煌印象》不但堪称为东方"印象派"绘画的杰出代表,更显示出了对西方"印象派"的创造性转化和发展,而这不仅仅是因为它标志了融合了东西方艺术的"宣纸油画"的诞生,更因为它包孕了一种复杂而又深刻的时间性,体现出"内容尽化为形式"和"材质尽融于形式"的双重可能,由此,不但具有艺术史的特别意义,同时更为艺术哲学的拓展提供了一个极好的范例。
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| 关 键 词： | 《敦煌印象》 宣纸油画 时间性 内容化为形式 材质融于形式 |
The Timeliness of "Dunhuang Impression" |
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| HU Fan-zhu & HU Yi-ming.The Timeliness of "Dunhuang Impression"[J].Journal of East China Normal University :Philosophy and Social Sciences Edition,2012(2):142-145,157. |
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| Authors: | HU Fan-zhu & HU Yi-ming |
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| Institution: | HU Fan-zhu & HU Yi-ming |
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| Abstract: | In the history of modern Chinese fine arts Kong Baiji’s painting of "Dunhuang Impression" deserves special attention,though it is perhaps not very famous.This is not only because it is a birth mark of the "oil painting on xuan paper" which melts Oriental and Western cultures,but also because it embraces a kind of complicated and profound timeliness,presenting a double possibility of "content’s complete transformation into form" and "material’s complete melt into form".Accordingly,it sets an excellent example for an expansion of philosophy of art. |
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| Keywords: | Dunhuang Impression oil painting on xuan paper timeliness |
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