情感与技巧  

Emotions and Artistry

作　　者：李占洋 

机构地区：[1]中央美院雕塑系

出　　处：《雕塑》1999年第3期16-19,共4页Sculpture

摘　　要：在学院里,学生都要学习以往形成的固定模式的艺术观察方法和表现方法。从这个意义上说,学习艺术是接受传统的过程。 在很长一段时间里,学院把学生对技能技巧掌握运用的好坏作为评判学生艺术素质的高低标准。技能技巧无疑是组成艺术的一部分因素,但过多强调技巧而没能把人的情感放在主要位置上,就会引发技巧至上的误导,这是学院派最大的弊病。很多美术学院雕塑系都认为如果学生没过等大人体写生这一关,以后艺术发展前途不大。这一事实是普遍存在的。For a certain era, not all of the sincerity and individualities are significant. At present it can be found everywhere that people show cordiality in ruminating over the tastes of the traditional scholar paintings and infatuation for the traditional techniques of realism. But it is not the contemporary sincerity. The individuality is the most important aspect, but not everyone' s individual secret emotions are relative with the contemporary era. As J. P. Theson said:' to free oneself from the control and limits of the social usage by his own. ' And such an art has the real value and significance of the individual existence. We express our contemporary emotions in a contemporary language and we are going to narrate yesterday' s stories in a way that the ancestors once expressed their emotions yesterday.All of the colleges must both have a fully-integrated and systematic teaching models as guidance and provide the students a comprehensive knowledge of the traditional skills and techniques through various training. The focus is to set up a way of artistic thinking incoincidence with the contemporary society after acquiring the techniques of expressions. If so, the techniques will become artistic forms of expressions that the individual are longing for with the changes of the emotional needs.

关 键 词：技能技巧 写实主义 现实主义 艺术家 生存感受 艺术素质 人的情感 学习艺术 研究生 观察方法 

分 类 号：J30-4[艺术—美术]