非具象艺术乌托邦:至上主义的缘起与理论构建  

Utopia of Non-figurative Art:the Origin and Theoretical Construction of Suprematism

作　　者：艾欣 AI Xin

机构地区：[1]北京外国语大学俄语学院,北京100089

出　　处：《艺术探索》2020年第3期56-63,共8页Arts Exploration

基　　金：中央高校基本科研业务费专项资金资助(2019QD012)。

摘　　要：俄国先锋派艺术家卡济米尔·马列维奇在20世纪初的十余年间经历了从写实主义、印象派、后印象派、象征主义到野兽派、立体主义、立体未来主义等各种风格的不断尝试,最后决定在绘画中抛弃对一切具象的塑造,转向了纯几何形式的至上主义抽象。至上主义脱胎于立体未来主义,缘起于先锋歌剧《战胜太阳》,最终在1915年的"0,10"展上呈现了惊世骇俗的《黑色正方形》并发表宣言,塑造了绘画形式极致纯粹的艺术乌托邦,带来了一种"新文化开端"。After more than ten years'constant attempts of various styles from realism,impressi on ism,postimpressionism,symbolism to fauvism,cubism and cubo-futurism at the beginning of the 20th century,Russian avant-garde artist Kazimir Malevich eventually decided to abandon all the concrete shapes in the painting,and turned to the pure geometry of the suprematist abstraction.Suprematism was born out of cubo-futurism and originated from the avant-garde opera Victory over the Sun.Finally,at the"0,10"exhibition in 1915,it presented the terrifying Black Square and issued a manifesto,which shaped the ultimate pure art Utopia,bringing a"new cultural beginning".

关 键 词：马列维奇 风格流变 非具象艺术 至上主义宣言 

分 类 号：J205[艺术—美术]