创造性模仿在绘画艺术中的意义——高居翰对董其昌“仿”之阐释  

The Significance of Creative Imitation in Pictorial Art: Gao Juhan’s Interpretation of Dong Qichang’s "Imitation"

作　　者：吴坚旭[1] 

机构地区：[1]深圳大学艺术设计学院,广东深圳518060

出　　处：《深圳大学学报（人文社会科学版）》2009年第4期143-146,共4页Journal of Shenzhen University：Humanities & Social Sciences

摘　　要：高居翰在对董其昌绘画创作的"仿"之阐释中,打破了"创造就不能模仿,模仿就没有创造力"的简单的二元对立观念,认为董其昌式的"仿"就是创造性的模仿,"仿"也可以是有原创力;绘画理念既可以如杜尚般不断扩展绘画(艺术)的疆域,按照推倒再来的"逆反式"发展方式,也可以如董其昌般按照不断寻找既有的资源为我所用的"顺承式"发展方式。创造性模仿的思维方式在很大程度上解放了当今的艺术观念,为杜尚以来被观念冲击的架上绘画提供了一个既古老又崭新的选择。Gao Juhan＇ s interpretation of Dong Qichang＇ s binary opposition of ＂creation is not imitation, and imitation imitative paintings works to shatter the reductionist carries no creativity＂. He argues instead that Dong Qichang＇s imitation is creative, and imitation can be original as well. The conception of painting can be developed in a ＂reversed mode＂ in which the past achievements are pushed over and new ones are started and the boundaries of pictorial art are constantly extended by artists like Marcel Duchamp. It can also be developed in a ＂sequential mode＂, by which artists like Dong Qichang can draw on the existing resources. The thinking pattern of creative imitation, to a large extent, liberates modem conception of art. It provides an ancient but also brand-new alternative for easel painting which has been impacted by new concepts ever since Marcel Duchamp.

关 键 词：绘画艺术 创造性模仿 原创力 形式攫取 历史定位 

分 类 号：J21[艺术—美术]