另一种写实传统:论远古绘画巫术写实观对中国画的影响  

Another Tradition of Realism: Impact of Magic Realism on Chinese painting

作　　者：刘连杰[1] 

机构地区：[1]云南师范大学文学院,云南昆明650500

出　　处：《学术探索》2016年第8期129-134,共6页Academic Exploration

基　　金：云南省教育厅重点项目(2014Z040)

摘　　要：由于巫术思维的影响,远古绘画并不取悦感官,追求视觉真实,而是追求与事物本身的同一性,注重对事物构成要件的完整性呈现。它决不会同意为了视觉需要而对事物进行它们本身所没有的透视变形,更不会因为视觉前后遮挡的局限而破坏事物本身的完整性,这是远古绘画巫术写实观的基本内涵。这种写实观不只是存在于早已消逝的远古时代,它对中国绘画产生了深远的影响,并在中国绘画史上形成了一个鲜活的传统。认真梳理这一传统,可以破除近代以来对视觉写实的迷信,澄清历史的真相,恢复绘画写实的丰富性和多样性,为绘画的未来发展提供更多的思考方向。Due to magic thinking, primitive painting is not made for eyes, but for things themselves, although it looks not real, everything is here. It cannot accept perspective distortion, because that does not belong to things themselves; it also cannot ac- cept incomplete things, although they do so in the visual. This is the basic meaning of magic realism in primitive paintings. The magic realism exists not only in primitive paintings, but also in Chinese ancient paintings, and forms a living tradition. Knowing this can remove the misunderstanding for realism, restore the richness and diversity of it, and provide more directions for think- ing future development of painting.

关 键 词：巫术思维 写实观 中国画 影响 

分 类 号：J232.9[艺术—美术]