《爱痕湖》的审美现代性

Aesthetic Modernity in The Lake of Love Impression

《爱痕湖》是张大千先生的艺术作品,该作融中国山水画技法与西方抽象表现主义于一体,既是对中国雄伟山水画的现代性诠释,又是中国绘画现代性"自觉"的产物。《爱痕湖》在追求自由,凸显主体意识上表现出审美现代性的救赎功能,这主要体现在两方面:在题材与技法上,捕捉主体意识的瞬间性,展示现代性的生存体验;在意境与格调上,借助想象和同情摒弃现实生存空间的理性,拓展人类的生存空间,重申自文艺复兴时期以来的主体意识,真正实现进入审美现代性的自由空间,达到回归人类精神的家园,即"诗意的栖居"。

The Lake of Love Impression, as one of the best representatives drawn by Zhang Da -qian, integrates the techniques of Chinese landscape painting and those of western abstract expression. It is the interpretation of grand Chinese landscape painting as well as the product of self - knowledge of modernity in Chinese paintings. It embodies the salvation function in pursuit of freedom and projection of subject consciousness in two ways ： it grasps the instantaneousness of subjects and shows the living experience in modern time by way of techniques ; it abandons the reason of present living space and extends the experience of modern existence and reaffirm the subject con- sciousness since Renaissance in expectation of entering into aesthetic modernity to realize returning to human being＇ s spiritual home, namely, poetic inhabitation .