神会东方——日本浮世绘对莫奈艺术的影响

Meeting with the Spirit of Oriental art: The effect of Japanese Ukiyo-e on Monet's Painting

19世纪中期,西方传统古典主义艺术渐趋僵化之际,致力于革新的印象派画家们接受了来自东方的浮世绘艺术的影响,从题材、构图、色彩等方面与传统决裂,最终引领了现代艺术的潮流。克劳德·莫奈,作为印象派的领袖,不仅很早就收藏浮世绘作品,并且创作了一些有明显东方色彩的作品。但莫奈的早期作品只是采纳了浮世绘艺术的皮毛,直到晚期的睡莲画作中,才在空间、色彩的处理上达到了高度的自由,从而走向与浮世绘这种东方艺术精神的融会贯通。

In the middle of the nineteenth century, with the rigidity of traditional western classical art, the Impressionist painters who were committed to innovation accepted the influence of Oriental Ukiyo-e art. In subject, composition, color and other aspects their works broke with tradition and eventually set the trend of modern art. As a leader of the impression- ists, Claude Monet not only collected Ukiyo-e works, but also produced many works with significant Oriental flavor. Yet the writer of this essay believes that in Monet＇s early works the influence of Ukiyo-e art was just superficial and not until in the water lily works that he painted in his late period did he attain a high degree of freedom in processing space and color. It was then that he met with the spirit of Oriental art.