靳之林艺术作品的本原思想研究
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摘要
著名油画艺术家、中央美术学院教授、中国本原文化研究所所长、油画及本原哲学博士生导师靳之林是中国本原哲学和本原文化理论体系的奠基人。
综观国内外各大传媒,目前对靳之林作品的关注热情超过了对其中国本原文化研究成果的介绍。同时,当前媒体流行观念中对靳之林艺术作品的释读还多停留在所谓的现实主义的认识层面,而对靳之林艺术作品本原思想的问题并没有引起重视。
靳之林的本原思想是以阴阳观和生生观为核心生命文化意识。靳之林在对这种文化基因密码的破译和对这种哲学符号的释读和建构中,逐渐形成了组成其完整的本原思想体系的逻辑语言和视觉语言两大系统。靳之林的本原思想在家庭师友、民间艺术、民俗考察等多方面的机缘中形成。而《抓髻娃娃》中保护繁衍的生命意识、《生命之树》中的通天通神的永生意识和《绵绵瓜瓞》中的化生万物的绵延意识等成为其本原思想的重要来源。
靳之林作品的本原思想是作为靳之林本原思想系统组成之一的视觉语言体系的核心内容。“技进于道”思想是靳之林作品的本原思想第一个基点和向度。它经历了一个技为存“真”、“术”高千丈、技进于道和“技”“道”同工的发展的过程。
“物、我为一”思想成为靳之林作品的本原思想又一个基点和向度。它先后经由自然山水与田园、肖像与风景并重、由肖像转向风景到油画山水和花鸟等题材的多重嬗变。
“观物取象”的阴阳观和生生观则是靳之林艺术作品中流变的本原思想内核。共生性、共荣性及阴阳性是其重要特征。靳之林艺术作品中这种“观物取象”的本原思想的具体表现为主要基于生命之“地”、生命之“树”、生命之“花”、生命之“果”和生命之“色”等诸多领域。
与莫奈、梵高等西方绘画名家的艺术作品思想相比,靳之林艺术作品中“技进于道”思想、“物、我为一”思想和“观物取象”显得更为鲜明。与吴冠中、许江等东方绘画名家的艺术作品思想相比,靳之林艺术作品的本原思想则显得更为基础、本原和更富中国文化特色。
充分认识和努力把握靳之林当代油画作品本原思想,能让我们在流行观念即对靳之林当代油画的现实主义的理解基础上进入更深领域,这对正确释读靳之林当代油画作品和完整地把握解靳之林本原思想体系不无意义。
Jin Zhi-lin is a founder of the China Theory System of Original Philosophy & Original Culture, who is a famous oil painting artist, a professor of Central Academy of Fine Arts, a president of the China Institute of Original Culture, a tutor of oil painting science and original philosophy.
At present, following with interest Jin Zhi-lin’s art works is more than introducing his research about Original Culture of China through studying the reporting emphasis on Jin Zhi-lin coming from the media all around the world. And at the same time, the explanation to the Jin Zhi-lin’s art works in popular ideas of present media is still much standing on the reconing surface of realism ,and the problem about original thoughts in the art works of Jin Zhi-lin haven’t be paid attention to.
The original thoughts of Jin Zhi-lin is a cultural consciousness which is looked on the“Yin-Yang”idea and“Sheng-sheng”idea as its nuclear. And Jin Zhi-lin come to form his both of the branch system of logic language and branch system of visual language that compose together the complete system of original thoughts during the succeeding in translating the secret code of the original culture , explaining to the symbol of original philosophy and constructing the original thoughts system. Jin Zhi-lin’s original thoughts has been come into being in the good luck of many aspects like family, teachers, friends, folk arts and folk customs etc. And the life consciousness with the protesting and multiplying in his work named“Baby Bandaging hair”, the perpetual life consciousness with going to heaven and contacting with God in his work named“the Tree of Life”, the lasting life consciousness with springing all life of the world in his work named“Melon lasting for ever”etc has become the important source of China original thoughts of his.
The original thoughts of Jin Zhi-lin’s art works is the nuclear contents of the system of visual language as the system of Jin Zhi-lin’s original thoughts. And the idea of“Technology coming into the‘Dao’”is the first basic standing-point in the art works of Jin Zhi-lin. And it has experienced a developing course of from the Getting a“Technology”to save“Reality”to the“Tree”of“Technology”being thousands of“Zhang”, Technology coming into the“Dao”, and“Technology”&“Dao”going into the same one free kingdom.
The idea of“Thing and I being one”is the second basic standing-point in the art works of Jin Zhi-lin. And it goes through multi-changes in subject matters from using the hill, water, wild field and garden to the portrait & scenery being the same, portrait tending to scenery and the hill & water of oil painting and flower & bird of oil painting.
The Yin-Yang idea and Sheng-sheng idea of“Getting the symbol by watching nature”is the nuclear of original thoughts in the changing art works of Jin Zhi-lin. And the existing together, the flourishing together, and the Yin-yang are its important features. And the original thoughts like“Getting the symbol by watching nature”in the changing art works of Jin Zhi-lin mainly shows the these fields basing on the“ground”of a life,“ground”of a life,“flower”of a life,“fruit”of a life,“color”of a life, etc.
Contrasting Jin Zhi-lin with west painting artist like Claude Monet, Vincent van gogh ect,“Technology Entering‘Dao’”,“Thing and I being one”and“Getting the symbol by watching nature”are more distinguishing than theirs in the art works of Jin Zhi-lin. And Contrasting Jin Zhi-lin with Oriential painting artist like Wu guan-zhong, Xu jiang ect,the original thoughts looks more basic , more original, and more distinguishing feature of China in the art works of Jin Zhi-lin.
Reckoning completely on the original thoughts in the art works of Jin Zhi-lin and mastering its spirit could make us enter more deeply field on the base of the popular ideas regarding Jin Zhi-lin’s modern oil painting as realism, it isn’t no valuable to correctly read the modern oil painting works of Jin Zhi-lin and master Jin Zhi-lin’s system of the original thoughts.
综观国内外各大传媒,目前对靳之林作品的关注热情超过了对其中国本原文化研究成果的介绍。同时,当前媒体流行观念中对靳之林艺术作品的释读还多停留在所谓的现实主义的认识层面,而对靳之林艺术作品本原思想的问题并没有引起重视。
靳之林的本原思想是以阴阳观和生生观为核心生命文化意识。靳之林在对这种文化基因密码的破译和对这种哲学符号的释读和建构中,逐渐形成了组成其完整的本原思想体系的逻辑语言和视觉语言两大系统。靳之林的本原思想在家庭师友、民间艺术、民俗考察等多方面的机缘中形成。而《抓髻娃娃》中保护繁衍的生命意识、《生命之树》中的通天通神的永生意识和《绵绵瓜瓞》中的化生万物的绵延意识等成为其本原思想的重要来源。
靳之林作品的本原思想是作为靳之林本原思想系统组成之一的视觉语言体系的核心内容。“技进于道”思想是靳之林作品的本原思想第一个基点和向度。它经历了一个技为存“真”、“术”高千丈、技进于道和“技”“道”同工的发展的过程。
“物、我为一”思想成为靳之林作品的本原思想又一个基点和向度。它先后经由自然山水与田园、肖像与风景并重、由肖像转向风景到油画山水和花鸟等题材的多重嬗变。
“观物取象”的阴阳观和生生观则是靳之林艺术作品中流变的本原思想内核。共生性、共荣性及阴阳性是其重要特征。靳之林艺术作品中这种“观物取象”的本原思想的具体表现为主要基于生命之“地”、生命之“树”、生命之“花”、生命之“果”和生命之“色”等诸多领域。
与莫奈、梵高等西方绘画名家的艺术作品思想相比,靳之林艺术作品中“技进于道”思想、“物、我为一”思想和“观物取象”显得更为鲜明。与吴冠中、许江等东方绘画名家的艺术作品思想相比,靳之林艺术作品的本原思想则显得更为基础、本原和更富中国文化特色。
充分认识和努力把握靳之林当代油画作品本原思想,能让我们在流行观念即对靳之林当代油画的现实主义的理解基础上进入更深领域,这对正确释读靳之林当代油画作品和完整地把握解靳之林本原思想体系不无意义。
Jin Zhi-lin is a founder of the China Theory System of Original Philosophy & Original Culture, who is a famous oil painting artist, a professor of Central Academy of Fine Arts, a president of the China Institute of Original Culture, a tutor of oil painting science and original philosophy.
At present, following with interest Jin Zhi-lin’s art works is more than introducing his research about Original Culture of China through studying the reporting emphasis on Jin Zhi-lin coming from the media all around the world. And at the same time, the explanation to the Jin Zhi-lin’s art works in popular ideas of present media is still much standing on the reconing surface of realism ,and the problem about original thoughts in the art works of Jin Zhi-lin haven’t be paid attention to.
The original thoughts of Jin Zhi-lin is a cultural consciousness which is looked on the“Yin-Yang”idea and“Sheng-sheng”idea as its nuclear. And Jin Zhi-lin come to form his both of the branch system of logic language and branch system of visual language that compose together the complete system of original thoughts during the succeeding in translating the secret code of the original culture , explaining to the symbol of original philosophy and constructing the original thoughts system. Jin Zhi-lin’s original thoughts has been come into being in the good luck of many aspects like family, teachers, friends, folk arts and folk customs etc. And the life consciousness with the protesting and multiplying in his work named“Baby Bandaging hair”, the perpetual life consciousness with going to heaven and contacting with God in his work named“the Tree of Life”, the lasting life consciousness with springing all life of the world in his work named“Melon lasting for ever”etc has become the important source of China original thoughts of his.
The original thoughts of Jin Zhi-lin’s art works is the nuclear contents of the system of visual language as the system of Jin Zhi-lin’s original thoughts. And the idea of“Technology coming into the‘Dao’”is the first basic standing-point in the art works of Jin Zhi-lin. And it has experienced a developing course of from the Getting a“Technology”to save“Reality”to the“Tree”of“Technology”being thousands of“Zhang”, Technology coming into the“Dao”, and“Technology”&“Dao”going into the same one free kingdom.
The idea of“Thing and I being one”is the second basic standing-point in the art works of Jin Zhi-lin. And it goes through multi-changes in subject matters from using the hill, water, wild field and garden to the portrait & scenery being the same, portrait tending to scenery and the hill & water of oil painting and flower & bird of oil painting.
The Yin-Yang idea and Sheng-sheng idea of“Getting the symbol by watching nature”is the nuclear of original thoughts in the changing art works of Jin Zhi-lin. And the existing together, the flourishing together, and the Yin-yang are its important features. And the original thoughts like“Getting the symbol by watching nature”in the changing art works of Jin Zhi-lin mainly shows the these fields basing on the“ground”of a life,“ground”of a life,“flower”of a life,“fruit”of a life,“color”of a life, etc.
Contrasting Jin Zhi-lin with west painting artist like Claude Monet, Vincent van gogh ect,“Technology Entering‘Dao’”,“Thing and I being one”and“Getting the symbol by watching nature”are more distinguishing than theirs in the art works of Jin Zhi-lin. And Contrasting Jin Zhi-lin with Oriential painting artist like Wu guan-zhong, Xu jiang ect,the original thoughts looks more basic , more original, and more distinguishing feature of China in the art works of Jin Zhi-lin.
Reckoning completely on the original thoughts in the art works of Jin Zhi-lin and mastering its spirit could make us enter more deeply field on the base of the popular ideas regarding Jin Zhi-lin’s modern oil painting as realism, it isn’t no valuable to correctly read the modern oil painting works of Jin Zhi-lin and master Jin Zhi-lin’s system of the original thoughts.
引文
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[3]李尤松:《观靳之林新作有感》[N],《人民日报》,2003-10-26
[4]《中央美术学院·人物·历代名师——靳之林》[OL],参见中央美术学院教育网:http://www.cafa.edu.cn,2008.03.07
[5]靳之林:《生命之树与中国民间民俗艺术》[M],桂林:广西师范大学出版社2002
[6]靳之林:《中华民族的保护神与繁衍之神——抓髻娃娃》[M],北京:中国社会科学出版社,1989
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[9]靳之林:《生命之树》[M],北京:中国社会科学出版社,1994
[10]邹中华:《追寻民间艺术的源头——记勒之林教授》[N],人民日报文化版,1995-8-7
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[14]韩立伟,董河宁:《延安,我艺术生命的天堂——记中央美术学院教授、油画博士生导师、著名油画家靳之林》(上篇)[N],北京铁道报,2008-6-28
[15]杨海涛:《我是黄土地的儿子——访中央美术学院教授靳之林》[N],中国艺术报,2003-8-4
[16]lbb21108:《黄土恋歌——中央美术学院教授靳之林访谈》[OL],博克网:http://www.bokee.com,2006-8
[17]李晶:《81岁靳之林:要重视文化生态环境》[N],西安日报,西京评论·文化生活,2008-6-13
[18]苏宏斌:《现象学美学导论》[M],北京:商务印书馆,2005
[19][法]梅洛-庞蒂:《知觉现象学》[M],姜志辉译,北京:商务印书馆,2001
[20]靳之林:《抓髻娃娃——与人类群体的原始意义》[M],桂林:广西师范大学出版社,2001
[21]靳之林:《绵绵瓜瓞与中国本原哲学的诞生》[M],桂林:广西师范大学出版社,2002
[22][唐]张彦远:《历代名画记》[M],南京:江苏美术出版社,2002
[23]舟子:《靳之林己丑年荷月画语录》(靳之林与作者的交谈资料及手札,2009)
[24]靳之林:《生活的足迹》[OL],雅昌艺术网:http://www.artron.net,2008-6-30
[25]周鼎:《靳之林戊子年冬月画语录》(作者与靳之林的访谈影音资料及手札,2008)
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[27]靳之林:《万物与我合一》(靳之林文稿,2005)
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[30]佚名:《名家介绍·靳之林简介》[OL],中国版画网:http://www.zg-bh.com,2007
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[47]靳之林:《万物与我合一》[OL],《美术观注》:http://blog.sina.com.cn,2008
[48]佚名:《日出·印象》[OL],百度百科,http://baike.baidu.com,2009
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