黑方块与隐去的面容:马列维奇几何抽象绘画创作的形而上学维度  

Black Squares and Hidden Faces:The Metaphysical Dimension of Malevich's Geometric Abstract Works

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》2023年第1期40-47,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：20世纪初的欧洲先锋派对原创性的自我宣称很大程度上建立在对视觉传统的反叛与颠覆上,而肖像画作为西方绘画的经典体裁和具象艺术的顽固载体,自然受到先锋派激进思想的强烈冲击。卡济米尔·马列维奇的至上主义将先锋派的抽象探索推向了极致与纯粹,传统肖像画对人物面容的刻画功能在此完全失效,转而指向对神秘、超越、通达的形而上学思想的表现,由此终结了绘画艺术模仿现实世界的可能性。从《马秋申肖像》到《自画像:二维色块》,对肖像面容的抹除在至上主义理论与黑方块程式的成熟过程中扮演着重要的角色,并与其同时期其他至上主义画作形成形式和观念上的互文与对话。马列维奇“以黑方块替代肖像面容”的演进背后有着哲学、宗教学与科学的综合动因,受到20世纪初先锋派中流行的“第四维”及神智论理念的影响与启迪。因此,马列维奇的抽象创作及其对原创性的自我宣称并不是完全反发展、反历史的,而是当时西方知识界不可分割的重要一环。The self-proclaimed originality of the European avant-garde in the early 20th century was largely based on rebellion against the visual tradition.As a classic genre of painting and the stubborn carrier of figurative art,portraiture naturally suffered from the strong impact of the avant-garde's radical ideology.Kazimir Malevich's suprematism pushed the abstract exploration of the avant-garde movement to its most extreme and purest limits.The function of depicting the figure's face in traditional portraiture has completely failed here.Instead,there focus is put on the expression of mysterious,transcendent,and accessible metaphysical thoughts,thus ending the possibilities of plastic arts imitating the real world.From Portrait of Matiushin(1913)to Self Portrait:Color Masses in Two Dimensions(1915),the erasure of the face in portraiture played an important role in the maturation of the suprematist identity and the"black square"modality,constituting inte rtextuality and dialogue with other suprematist paintings of the same period,both formally and conceptually.Behind Malevich's evolutionary process of"replacing an iconic face with a black square"lies a simultaneously philosophical,religious,and scientific motivation,namely the fourth dimension and theosophy—doctrines that were extremely popular in the avant-garde circle in the early 20th century.Therefore,Malevich's abstract works,and his self-declaration of originality were not completely antidevelopmental and anti-historical,but were an inseparable and important part of the Western intellectual circles of his day.

关 键 词：至上主义 肖像画 第四维 神智论 原创性 

分 类 号：J205[艺术—美术]