東方裸女的獨白：常玉裸女畫研究
Abstract
常玉裸女題材的創作，是個人創作經驗中數量最多、材料運用最為多元的一類，對中國藝術而言，裸藝術的出現更有突破傳統禁忌的創新意義。常玉在創作上集合西方材料技法與中國筆墨趣味於一身，將東西方藝術的特長巧妙地融為一爐，他一方面承襲中國書法式的線條，用色高雅單純，以簡練的線色傳達出深遠的意境；另一方面以西方的平塗手法表現虛幻空間，有時為追求新穎的構圖，刻意犧牲輪廓的準確性，而使裸女變形、抽象。
常玉的一生遠離了中國，自三○年代以來，便持續在西方油畫材料中實驗探索，並受到西方風格的滲透，然而東方美學賦予他的養分更為豐富，他的創作精神也始終忠於東方美學的根源。他裸女畫裡，中國工藝美術的滲透表露無遺，特別是畫面中的地氈紋飾，具有祈福納祥的意味；而他遊戲人間的生活哲學，與以自娛為目的、不受拘束作畫態度，也使他的裸女畫展現出一種如同文人墨戲般的美的情思。
若將常玉放置在二十世紀的中國藝術史中檢視，可說他是中國最早的現代主義藝術家之一，他的繪畫為中國藝術彌補了由傳統走向現代、由東方走向西方的空缺，開創了新的表現形式與內容，意義十分深遠，更顯彌足珍貴。
In Chinese art history, it is unorthodox yet innovative to develop the theme of the nude. San Yu, however, created numerous art works using various materials to express such subject matter. In San Yu’s oeuvres, he skillfully extracted unique elements from both oriental and occidental art such as Chinese ink painting and western mixed media. On the one hand, San Yu drew with calligraphic line and simple colors to create a “deep distance” perspective; on the other hand, he depicted surreal space with a kind of flat technique. Moreover, he even blurred figures’ contour lines and transformed the female nude into an abstract form when he attempted to represent new kinds of composition. San Yu stayed far away from China his whole life and despite his own experimentation with oil painting and the influences of several art schools from 1930s on, he maintained a sense of Chinese aesthetics and nostalgia in his work. In paintings of the female nude, we can see how the artist interwove his oeuvres with Chinese craft art form, particularly the patterns on carpets, which represent blessings and good fortune. Because of his casual manner and self-amusing attitude, San Yu embodied the nude in a way of the “literati painting.” When we examine San Yu’s art work in the context of twentieth century Chinese art history, he can be considered one of the earliest modern artists. He invented new forms and subjects on the basis of two cultures. As a result, his paintings have led Chinese art from traditional to modern. Consequently, San Yu’s work is of great significance and worthy of examination and study.
In Chinese art history, it is unorthodox yet innovative to develop the theme of the nude. San Yu, however, created numerous art works using various materials to express such subject matter. In San Yu’s oeuvres, he skillfully extracted unique elements from both oriental and occidental art such as Chinese ink painting and western mixed media. On the one hand, San Yu drew with calligraphic line and simple colors to create a “deep distance” perspective; on the other hand, he depicted surreal space with a kind of flat technique. Moreover, he even blurred figures’ contour lines and transformed the female nude into an abstract form when he attempted to represent new kinds of composition. San Yu stayed far away from China his whole life and despite his own experimentation with oil painting and the influences of several art schools from 1930s on, he maintained a sense of Chinese aesthetics and nostalgia in his work. In paintings of the female nude, we can see how the artist interwove his oeuvres with Chinese craft art form, particularly the patterns on carpets, which represent blessings and good fortune. Because of his casual manner and self-amusing attitude, San Yu embodied the nude in a way of the “literati painting.” When we examine San Yu’s art work in the context of twentieth century Chinese art history, he can be considered one of the earliest modern artists. He invented new forms and subjects on the basis of two cultures. As a result, his paintings have led Chinese art from traditional to modern. Consequently, San Yu’s work is of great significance and worthy of examination and study.
Description
Keywords
常玉, 裸女畫, 文人畫, 文化移植, 民間紋樣, 東方要素, San Yu, Female Nude Painting, Literati Painting, Transculturation, Folk Pattern, Oriental Elements