罗斯科“可塑性”概念与绘画空间

Rothko's Concept of“Plasticity”and the Space of Painting

罗斯科的绘画创作与同时代的艺术评论之间向来存在诸多裂隙,罗斯科吸收了罗杰·弗莱艺术批评中的“造型性”概念,以抽象的运动感取代了立体感的内涵,形成了自己的“可塑性”概念。这一词义的改变使“可塑性”突破了三维空间的限制,获得了更强的解释力。在内容层面,罗斯科认为艺术家的真实能够通过绘画空间中不同的可塑性元素得以表达。通过对乔托作品的分析,他将绘画空间分为视觉真实的视觉派空间与反对视觉模仿的触感派空间,分属理性主义与感性本能的真实。罗斯科因对尼采现代性批判思想的认同而倾向于触感派空间,他的典型色域绘画也因此是反形式主义、反平面逻辑的。

A deeper insight into Rothko’s theory of art helps us understand the misunderstandings that have always existed between his paintings and the interpretations of his time. Rothko absorbed the concept of “plasticity” in Roger Fry’s art criticism, replaced the connotation of three-dimensional sense with abstract sense of movement, and formed his own concept of “plasticity”. The change of this meaning makes “plasticity” break through the limitation of three-dimensional space and gain more powerful explanatory power. On the content level, Rothko believes that the artist’s reality can be expressed through different plasticity elements of the painting space.Through the analysis of Giotto’s works, he divided the painting space into two types: the illusory space relying on visual reality and the tactile space opposing visual imitation. They belong to the truth of rationalism and perceptual instinct. Rothko is inclined to the tactile space because of his recognition of Nietzsche’s critical thinking of modernity, and his typical color-field paintings are therefore anti-formalism and anti-planarism.