古典画派与浪漫画派释义
The interpretation of the Classical and Romantic schools of painting.

古典主义与浪漫主义是对立的两画派。

古典主义是以心灵至上为原则的，根据理想的，视察物体的方法，去追求真善美，它的最高目的，是以最简单，最抽象的法则‘使“美”具体化；浪漫主义是以个性至上为原则，着重于本身与在世界关系的情操，更深一层地暴露自我的情感，它的最高的目的，是以自然的现象，诱致诗情的创作。

古典主义是纯精神的，纯理性的艺术，它不是表现环绕周遭的生活，而是经过心灵所控制的产物；以规则化为理想，而操纵画家的观念，古典派就好像一个被规则，权力，所控制的团体，它顺从道德上的规则，理论上的法典，否定了真实的权利，渗透了思考的心灵，这是大卫（David）之所以喜欢用“古典的”术语的原因，因为心灵至上的法则，正适合于他的气质，古典主义也有革命的前进理论的优点，这精神的集合，可能成为哲学的原则，这个原则，引起了我们对真理女神的崇敬呢！

这真理所表现的生命的进步，及各方面的理论，我们可以在各年代的美术史上，看到很多例子，从穴居人的史前“粗刻”及最早发现的手抄原稿起，都可以作为革命前进的论据，凭着佛窪（Fouquet），拉克（Clouet），奈因（Nain），和查丁（Chardin）这几个画家的发掘，使法国的艺坛在理论上接近真理，与生命的表现，其他如罗马的雕刻师，教堂的建筑师，直到浪漫派的到来，以至现在，都深刻地受到这理论的感应，跟着英格利士（Ingres）的出现，开始把智慧和感官与真理的哲学原则，平衡地维系古典派的命脉，我们可以断言，英格利士未曾读过卢梭的哲学，不然，他一定可以从卢梭的启示作更惊人的成就！其实古典主义在还未消失之前，英格利士就主张“事物与心情”的调和，现在已成为必要的推动力了，那旧的理想主义渐次淹没，于是格力果（Gericault），康士泰堡（Constable）和狄拉漥士（Delacroix）开始解放运动，这也就是浪漫主义的诞生了！

浪漫主义是潜伏在人们的心理，从各年代的风俗，文学，科学，和艺术里可以看到它的踪迹。现在，浪漫主义画派已公开地出现了。它的主旨有如上述，这种创造是根据更进一步的对现实作精锐观察而成，还有，浪漫主义也反对古典派的色彩，因为古典派的色彩是被作为绘画的辅助，浪漫派却认为是画中的生命和灵魂；而在色彩本身是可以造成形状，无需借重于轮廓的线条，它也不抑制本身的推动力，使心灵更活跃，以直觉的天赋才能去创造，藉以提高作画的情绪，已达到诗的境界。卢梭的哲学这才被浪漫主义实现了。那超凡的，崇高的，深入到自然的真善美，使画人们得到了安慰，有了坚定的自信心了。

古典的理想主义，是片面的抽象观念，不能完成人类复杂的灵感的统一；浪漫主义可以克服它，成为诗情画意，富有温暖的人情味，这转变，引起了十九世纪多变，多产的画家群出现，推着进步的巨轮，朝向二十世纪的新园地。

回溯十八世纪的末叶，英国的绘画也被牵进立体画派和浪漫主义的斗争漩涡里，一端是默守宗规的，一端是绝对自由的想象的。威廉勃勒（William Blake 1757-1827）和终老在英国的瑞士人亨利菲士利（Henry Fuseli 1748-1828），都强调地认为艺术是视觉的媒介，这些视觉是在梦上，或在梦魔和极度痛苦中出现，或且是为了建立在理论上是抽象或想象的乌托邦，所引起的观念，那些所谓立体派者，并不算是画家的文人，因为艺术是作为说明的作用的。不过从艺术进步的历史看来，各派的冲突在所不免，但我们可以坦白地认为他们之间没有一个是第一流的画家。

现在让我们来认识亨利菲士利，他本名是Fussli，是一位作家兼画家，但是他的画不使人信服，他以一位梦魔似的画家出现，他的视觉并不如他的巧妙设计的感应，因为他太注重成规，永不能摆脱理论上的羁绊，他企图使人们看到他的画会恐怖，可是并不成功！他的画总是那么天真，虽然他曾用出各种方法去克服，结果还是生硬，依然是用严肃的形式去描述故事。

威廉勃勒就不同了，他是个深奥，诚实的神秘学者，他有一种超自然的，不可思议的感觉，他对单独的以正常的眼睛所看到的事物，不感到兴趣——这的确有点怪！说他的画像古典派，却又找不出近似点，原来他的颜色和作画概念，正像一般业余画家一样，重于基本规则，他沉湎于精确，修饰，甚至近于矫饰，和色调的一致——他秉着自己的纯美幻觉，而忽视其他的艺术，他宁取雕刻，水彩画，素描，而不取油画。总而言之他的艺术只不过是写实的“女仆”，想要达到他的幻觉，和神仙奇幻故事，就远非单独的绘画所能为力，尤其他的颜色，更不能表达，他的绘画只是文学的副产物，描出诗人但丁和圣经里的诗句，或启示录里的文学意味的神话，他不晓得要把自己在诗里表现出了，抑或是在绘画里表现出了？或且是要把自己寄藏在音乐里呢？因为他为“天真与经验”而作曲，想把它化为故事于雕刻之中，把自己安置其中享受永生乐园！

为什么这儿要特别提起威廉勃勒的艺术呢？因为在时间的过程中，他的工作已经有收获了。他的艺术孕育着十九世纪末叶的象征派和廿世纪的超现实派的灵感，他那单纯的信仰，比起神秘的规则，是更属于乌托邦的，他缺少统一而又不连络的矛盾，在同时代的人们以为他是疯狂，事实上他是个幻想的天才，有着高度的“易感性”，在火车与火焰之间的印象，光与影子之间的对照，取得了极度的孩子气的喜悦，他的灵感的深厚纯粹，是无可否认的事实，在性格上终是彻底的浪漫。

德国的绘画，无论如何赶不上文学的造就与创造力，因此浪漫派的绘画，仍旧离开了表现德国精神的这方面，德国人注重规则比精神更甚。他的目的不是人与=============，所以德国的浪漫作风，一直保留着感官的要素，那是因为灵魂的崇拜，首先响应的是灵感，为此，他确以一世界观与人性的一致为目标了。此外有一种非感官所能制止的鼓舞，就是怎样的寻求使那浪漫不安的“镇静剂”不是存在于自然，而是存在于自己。因此绘画对于德国人并不是完结，而是作为表现灵魂痛苦的方法，以满足他重造理想世界的渴望。他只以心眼来看世界，不管造型的问题，遇到面对造型问题时，便以理论来克服它。因此，任何“为艺术而艺术”的概念是被猛烈的排斥了。际此，一位象征的和劝善惩恶的寓言画家戈贝（Kaubachi 1805-1874）画了一幅名画，他画着一个被关在铁笼里的少女，被一群妖怪围困着，一个英勇的武士正企图拯救她；那少女是象征着纯洁的美，妖怪，是指法国的浪漫派武士，是作者本身了，他这样的作风，得到他的朋友是支持而仿效他。

但德国另一派画家如路维利区特（Ludwig Richter 1803-1884）和士凡（M. V. Schwind 1804-1871）等从事浪漫的作风，这种作风更有情操的风味与田园的诗情意味。

佛德烈（C. D. Friedrich 1774-1840）以尖锐的视觉为论据，更凭着自己思想的感染，认为人类是神圣的，眼睛需要成为宇宙创造的灵魂，他一生过着多难痛苦的生活，他在沉思默想中取得自我的解脱，他所画的画能反映他内在的烦恼，他不为当时的理论上的技术问题所束缚，他表现物体时，在他直线和破断的线条，以阳光斜射的纵划里，有着真的重量和庄严。他最突出的作品，是那副浸在柔和的阳光里的风景画，那高耸的岩石，和那巨大的树木，真有诗般的魔力呢；佛德烈真是个天才画家，他一生不朽的功劳，就是把德国的画风扭转过来，他把浪漫的，表现的，想象的，与情感的水源汇合在一起，成为欧洲绘画的洪流。

Classicism and Romanticism are two opposing schools of painting.

Classicism prioritizes the supremacy of the mind, following an idealistic approach to observing objects in pursuit of truth, goodness, and beauty. Its ultimate goal is to concretize beauty through the simplest, most abstract principles. Romanticism, on the other hand, prioritizes individuality, focusing on personal emotions and relationships with the world, delving deeper into the expression of one's own feelings. Its highest aim is to create poetic works inspired by natural phenomena.

Classicism is purely spiritual and rational art, not concerned with depicting surrounding life but rather the product of the mind's control. It idealizes regulation and manipulates the artist's concepts, resembling a group controlled by rules and power. Classicism adheres to moral rules and theoretical codes, denying real rights and permeating the mind with thought. This aligns with the principles of truth as embodied by the goddess of truth.

This pursuit of truth and various theoretical aspects of life can be seen throughout the history of art, from primitive "rough carvings" to early manuscripts. Artists such as Fouquet, Clouet, Nain, and Chardin have contributed to France's artistic development, bringing it closer to truth and the expression of life. Even with the arrival of Romanticism, this theory continued to influence artists profoundly, as seen in the works of Gericault, Constable, and Delacroix.

Romanticism, lurking in people's psyche, can be observed in customs, literature, science, and art throughout different eras. Now, Romanticism has emerged openly as a painting school. Its creation is based on sharper observations of reality, and it opposes Classicism's use of color as merely auxiliary, seeing color as the life and soul of painting. Romanticism believes that color can shape form without relying on contour lines and does not suppress its own driving force, thus making the mind more active. With intuitive talent, it seeks to elevate the emotions of painting to the realm of poetry, realizing Rousseau's philosophy.

Classical idealism, being a one-sided abstract concept, cannot fulfill the unified complexity of human inspiration; Romanticism overcomes this, becoming poetic and warm-hearted, driving progress in the arts towards the new horizons of the 20th century.

Looking back to the late 18th century, British painting was also drawn into the vortex of the struggle between the Cubist movement and Romanticism, one end representing adherence to conventions, while the other end embraced absolute freedom of imagination. William Blake (1757-1827) and Henry Fuseli (1748-1828), a Swiss resident in Britain, both emphasized that art serves as a visual medium, often depicting visions appearing in dreams, nightmares, or extreme anguish. These Cubists, as they were called, were not considered artist-literati, as art served an illustrative purpose for them. However, from the perspective of artistic progress, it's fair to say that none of them were first-rate painters.

Now, let's talk about Henry Fuseli. Although his original name was Fussli, he was a writer and painter. However, his paintings lacked conviction, as he appeared more like a painter of nightmares. His visualizations didn't match his clever designs because he was too focused on conforming to rules and couldn't break free from theoretical constraints. He attempted to make his paintings terrifying, but without much success. Despite his various attempts to overcome this, his paintings remained stiff, relying heavily on solemn forms to tell stories.

William Blake, on the other hand, was different. He was a profound and honest mystic scholar, possessing a supernatural and incredible sense. He wasn't interested in things seen through ordinary eyes—it was quite peculiar! Describing his style as classical would be misleading, as there are no clear similarities. His use of color and painting concepts resembled those of amateur painters, prioritizing basic rules. He indulged in precision, embellishment, and even exaggeration, and his colors, more than anything, expressed his pure aesthetic illusions, overlooking other artistic elements. He preferred sculpture, watercolor, and sketching over oil painting. In summary, his art was nothing more than a servant to realism. Achieving his illusions and fantastical stories through painting alone was impossible, especially since colors couldn't fully express his ideas. His paintings were merely byproducts of literature, depicting verses from poets like Dante and biblical literary themes. It's unclear whether he aimed to express himself through poetry, painting, or even music, as he composed "Songs of Innocence and Experience" and sought to integrate them into stories and sculptures, placing himself in a paradise of eternal joy!

Why mention William Blake's art here? Because over time, his work has borne fruit. His art inspired Symbolism in the late 19th century and Surrealism in the 20th century. His simple faith, compared to mysterious rules, leaned more towards utopia. Despite lacking unity and coherence, contemporaries considered him mad, but in reality, he was a visionary genius with a highly sensitive nature. His profound and pure inspiration is undeniable and ultimately thoroughly romantic in character.

German painting, no matter how rich in literary culture and creativity, still couldn't match its literary achievements. Therefore, Romantic painting in Germany continued to lack representation of the country's spirit. Germans valued rules more than spirituality. Their goal wasn't to depict the relationship between people and ==============. Therefore, German Romanticism retained sensory elements due to the worship of the soul, ultimately aiming for a unified worldview and human nature. Additionally, there was an inspiration that couldn't be stopped by sensory perception, which was the search for tranquility that was not found in nature but within oneself. Therefore, painting for Germans was not an end but a method of expressing the soul's anguish to satisfy their desire to recreate an ideal world. They only saw the world through the mind's eye, disregarding issues of form. When faced with such issues, they sought to overcome them through theory. Thus, any notion of "art for art's sake" was vehemently rejected. In this context, a symbolic and moralistic fable painter, Kaubachi (1805-1874), created a famous painting depicting a maiden trapped in an iron cage, surrounded by monsters, while a brave warrior attempted to rescue her. The maiden symbolized purity, the monsters represented French Romantic knights, and the author depicted himself. His style was supported and imitated by his friends.

However, another group of German painters, such as Ludwig Richter (1803-1884) and M.V. Schwind (1804-1871), pursued a more romantic style, imbued with emotional flavors and pastoral poetic sentiments.

Caspar David Friedrich (1774-1840), with his sharp vision, believed in the sacredness of humanity and saw eyes as the soul of universal creation. He lived a life of great hardship and found solace in contemplation. His paintings reflected his inner turmoil, unbound by technical issues of the time. In portraying objects, he used straight and broken lines, contrasting sunlight and shadows, achieving true weight and solemnity. His most outstanding works depicted landscapes bathed in soft sunlight, with towering rocks and massive trees exuding a poetic enchantment. Friedrich was truly a genius painter whose enduring contribution was to transform the German painting style, merging Romantic, representational, imaginative, and emotional elements into a single stream of European painting.