“存在方式”:中国水彩本土现实主义方法论

“Way of Being”:Methodology of Chinese Watercolor Indigenous Realism

在当代全球化的语境下,中国水彩艺术创作内涵的体现要立足于本民族文化语境。深度挖掘中华民族文化自身内涵是中国水彩未来发展的重要途径,而要体现本民族所特有的人文精神与本土意蕴,必须在创作题材方面高度关注社会现实,并在继承和发扬优秀传统文化的基础上,明确客观看待现实的世界观与方法论。因此,秉承坚守本土性、整体性,使艺术作品保持一种理性美、质朴美和充满真情实感的本土之美,便成为构建中国水彩本土现实主义的表达方式之要义。尤其在当今中西文化相互碰撞与交融的现实社会,如何呈现中国水彩的本土性,实现其独特符号语言的转化与建构,是一个肩负着历史使命的时代课题。本文利用“跨文化性”概念,结合海德格尔存在主义论和苏珊·朗格艺术符号论进行比较论证,试图探索中国水彩本土现实主义表现中的存在方式及方法论。

In the context of contemporary globalization, the connotation of Chinese watercolor art creation should be based on the national cultural context, and the deep excavation of the connotation of culture itself is an important way for the future development of Chinese watercolor, embodying the unique humanistic spirit and local implication of our nation, we must pay close attention to the social reality in the subject matter of creation, and on the basis of inheriting and carrying forward the excellent traditional culture, we must have a clear and objective view of the world outlook and methodology of reality. Therefore, adhering to the local, integrity, so that works of art to maintain a rational beauty, simple beauty and full of true feelings of the native beauty of Chinese watercolor becomes the expression and spiritual connotation of the local realism. As Zong Baihua said: “In history, a step forward is often accompanied by a step backward to explore the source of poverty.” This paper makes a Comparative Study of Martin Heidegger’s existentialism and Susan Langhe’s Art Semiotics, and explores the existential mode and methodology in the expression of Chinese watercolor indigenous realism.