器、物、色与空——从“色”感知看“物派”艺术作品  

ware,Objects,Colour(form)and Emptiness——The perception of colour(form)in the artworks of the "monoha"

作　　者：陈丹莹 CHEN Danying(Shanghai Academy of Fine Arts,Shanghai University Shanghai 200444)

机构地区：[1]上海大学上海美术学院,上海200444

出　　处：《流行色》2020年第11期116-117,共2页Fashion Color

摘　　要："物派"作为东方艺术的初次尝试,究其根源影响,日本"艺道"和中国禅宗与道家思想是其中重要来源。"物派"艺术家以本原状态的材料,在如"花应时而开"的场中,通过身体传递个体在客体世界中的体悟。面对"物派"作品,笔者作为观者与创作经验者,从"色"表象世界——"物派"作品的表象构造,试图对色彩、造型等艺术语言感知与分析,从"材料本色"、"构造物关系营造"、"场所意境氛围"方面展开对物的本原状态、状态关系世界的理解。作品如器、物一般存在,现形于万千世界,但皆为"空"。透过"物"之缤纷本色,进入变化无常的、互相联系的幻像世界,在"色"感知中,产生"空"空间观的审美意识。As a first attempt at oriental art,the ’Mono-ha’ has its roots in the Japanese ’Geido’ and Chinese Zen and Taoist thought as important sources.The artists of the "Mono-ha" use materials in their original state to convey,through the body the individual’s perception in the object world in a field like "flowers blooming at the right time".Faced with the works of the "Mono-ha",the author,as a viewer and a creator of experience,looks at the "colour"(form) world of representation —the representational construction of the "Mono-ha" works.The works of the "Mono-ha" are structured in terms of colour,shape and other artistic languages,and are perceived and analysed in terms of the "colour of materials",the "relationship between structures" and the "atmosphere of places".The works exist as ware and objects,appearing in a thousand worlds,but they are all ’empty’.Through the colourful nature of the ’objects’,we enter into the ever-changing and interconnected world of illusion,and in the perception of ’colour’(form),we develop an aesthetic awareness of the ’empty’ view of space.

关 键 词：“物派” 艺术作品 “色” 本色 感知 

分 类 号：G63[文化科学—教育学]