色象建构与画随心舞:柴祖舜绘画的意义  

The color image and the free expression of the mental image of Chai Zushun's painting

作　　者：李咏吟[1] 姚亚峰[1] Yongyin LI;Yafeng YAO(Zhejiang University)

机构地区：[1]浙江大学文学院

出　　处：《马克思主义美学研究》2022年第1期305-318,373-374,共16页Research on Marxist Aesthetics

摘　　要：柴祖舜的创作,游走于油画与国画之间,晚年创作骤然发生新变,不少批评家名之为“心象画”,我们也可以称为“色象画”。从“色象”与“物象”的关联中可以观其“心象”,或者相反,将“美轮美奂”的色象视作心象的自由表达。柴祖舜的心象画或色象画创作,再次彰显了古老的形象理论的现代价值。从美术图像的形象入手,我们可以深刻理解柴祖舜的心象画与色象画创作,并进行自然生命与精神生命的想象性重构,不断确证美术解释学的当代思想任务。Chai Zushun's creation wandered between oil painting and traditional Chinese painting.In his later years,his creation suddenly changed to what many critics call umental image paintingn as known as“color image painting”.From the relationship between“color image”and“object image”,we can observe its“mental image”,or on the contrary,we can regard the“beautiful”color image as the free expression of the mental image.Chai Zushun's creation of mental image painting or color image painting once again demonstrates the modem value of the ancient image theory.Starting from the image of art images,we can thoroughly understand Chai Zushun's creation of mental image painting or color image painting,reconstruct the imagination of natural life and spiritual life,and constantly confirm the contemporary ideological task of art hermeneutics.

关 键 词：柴祖舜 心象画 色象画 形象理论 

分 类 号：J205[艺术—美术]