绘画的抽象主义
The abstractionism of painting

我们试一观察过去百年来的艺术动向，就会发现“主义”与“运动”多得不可胜计，但大都是短命的；只有抽象艺术已经流行了四十余年，它的活力还没有衰退的现象。尤其是在这二十世纪里，每类的艺术，几乎都是向着抽象艺术这方面发展。所以抽象绘画这名词，已不是单独代表某一类的思想，或某一项流行的运动；而是一种国际性的象征，一种国际的语言了。

抽象艺术的存在已经很久了，并不因为人们的鄙视，攻讦而降低了它的价值；相反地，更增强了它的影响力，运用到全世界年轻画家的训练方面，透入华商和业余画圈子里去了。

抽象主义的绘画不是凑巧的偶然成就。它是经过长时期的演进，和繁重的准备而逐渐完成的。我们如果耐心的观察，就可以发现抽象艺术是在不断地扩展：印象派画家的作品多少显现着抽象性的特点。立体派，野兽派可以说是抽象绘画的先进者。他们许许多多坦率的作品中，有很多宝贵的材料，可以给现代的抽象派画家们作为范本。

这样一来，我们可以看出：抽象艺术不过是艺术的演进过程中所达到的一阶段，是二十世纪多方面形式的一种艺术结晶。虽然在本世纪中叶，抽象艺术曾引起不少的敌视，纷纭的争论；但是在艺术生命适合逻辑的进展中，它的来临已经早就给下了预告。我们可以断定：一种有机体的演进，绝不会受嘲笑，辱骂等等激烈的手段或漠视的态度所能阻止的。

抽象绘画的表现方式和种类，有二十个不同的系列和方法。所以它不致完全被人误解，是一种专门而难于了解的东西。我们可以简单而且正确的承认：它是一种新的转变，以一种新的原则和事实为出发点，而不根据任何定理，完全是一种自由的自我显现。

抽象绘画之钥就是在自由的自我发表，应用适当的技巧去开发那些蕴藏在我们内心的处女材料。从这里，我们应当去找出一条路来，然后才能够发现真理。此外，还得根据每件作品的正常途径，加以考虑，观察，逐步地去研究它的构图并深入地去了解。　　　　（上）

不过，在这里有一个很重要的问题，这种不为主题所约束的抽象作品，包含着强烈的创造性的需要。“自由”可以使一个人发展自己，发现自己。我们可以为创造而创造出一种风格。我们可以选择规则或任何限制，不管是放纵的或是约束的，我们都有绝对的自由。不过当我们的思想还没有成熟，心理准备不充足的时候，这美丽的名词——自由——是不能坚决地依附着它的。我们应该要按部就班，以勇敢和镇定的决心来解决抽象概念的问题；否则，便易流于肤浅通俗和污滥了。

抽象艺术是艺术本身最里层的精华。它是在艺术家跟艺术的整体发生了神秘的联系之下才产生出来的。它不搀杂任何物质的观念，而是直接地表出自我的精神，给人以情感上的快乐。不过，我们可以郑重地说，抽象艺术并没有废除自然，而是将自然用另一种方法表现。印象派画家常将他们的画架放在主题的前面，背衬出外界的景物；但抽象派画家是置身在自己内心的领域以内。换言之，他们把内心对着那画布而开放，对着画布而倾诉隐衷。人类的思想最伟大的一片未经开发的疆域，这是这片梦想和推测，理想和昵爱并行推进的小天地。我们对于物质和自然所得的经验，也在这里刻画了不可磨灭的痕迹。我们应该从这里找寻最伟大的发现，具体的表现在艺术上。

那么，怎样的画才称之为抽象画呢？抽象绘画与形象绘画上两个相对的名词。凡是一件作品，我们不能从其中认出丝毫有关那造成我们日常生活背景的客观事实的痕迹，这就是抽象绘画了。易言之，抽象的绘画中所不能具有任何引起真切感的形式存在，只可以使我们把它当做一件纯粹的绘画作品而已。批判它的时候，决不能用有关“内容”，“表现法”，“模仿”或“临摹”物象方面的价值为标准。据此，不管范围多阔，如果将自然的物象移植在画面上，那只能算是形象画，如果把“移植法”处理得使人无法看出自然事迹的真面目，那么，这种画就叫做“抽象绘画”。这种作品只能将结构和色彩的纯粹元素传达给我们。

抽象绘画的兴起，是一九一〇年至一九一七年之间，中心地是巴黎，慕尼黑，莫斯科，佛罗棱斯，朱力克等地。 （中）

抽象画派的两大开山祖康定斯基（Kandinsky）和蒙特里安（Mondriian）一样地都各有建树。康定斯基在廿九岁以后才结束他的律师事务，专心研究绘画。根据自己的本能，并聚集他十二年游学期间所得的丰富经验，由野兽派演绎，转变而创立了抽象绘画，发表绘画著甚多，其中《关于在艺术上的精神》和《关于形式上的问题》这两篇理论上的文字，给与艺术界非常大的轰动。他的理论认为音乐的最高境界是只见形式而不见内容，绘画也与音乐一样，应该脱离对象与观念，以某种自然为原型，而由变形作成一个有感情组织的抽象画面。音乐家可以用音响的节奏和旋律的美而奏出悦耳的谐调来。画家也可以用形式的结构与调和的色彩美，纯从内心的自我创作出最高最纯的艺术作品。他竭力主张把形式和色彩以适当的配置组织起来，不但要能够表达画家内心的情绪，还能引起观赏者心弦的共鸣。所以在他画面上的色彩，就有一种色彩的美调谐音，成为一曲绘画的音乐，他的艺术绘画都是不易理解的，不过，他却拓开了新一代艺术的疆域，使我们探讨的步伐更加跨开。

蒙德里安在卅八岁那年游学巴黎，深受到立体派的影响，于是他顿萌抽象概念，在绘画上开始探求新颖的感觉，作品创立独特的新风格。一九一五年创立了“新造型主义”，从那时起，蒙德里安才确定了他的路线。

一九一七年在荷兰率领一群年青的建筑家，画家，雕刻家，小说家，艺术批评家等，合办杂志《风格》，来鼓吹“新造型主义”，以承继立体主义。经他们的通力合作以后，新造型主义的抽象艺术，竟风行于现代艺术界了。

“新造型主义”纯粹是艺术家发挥内心的设计，其基本纲领是以长方形为基本形式，以蓝，红，黄三原色为基本色彩，明了简单的结构和绝对造型的相互关联来统辖画面，着重物象空间的性质，以色泽轻重的配置和平衡匀称为原则来求得美学上的和谐为目的。这主义强有力的影响着，并被广泛的应用到建筑，家具，广告设计及生活装饰上去了。

康定斯基和蒙德里安都活了一大把年纪，因为他们长期的工作寿命，所以能够指示承继人怎样从简单的因素中去抽取一连串的价值来。批评家的奚落，人们的烦言，并不能阻止抽象艺术的进展。它发出的光芒照耀着全世界的每一个角落。事实上，艺术的世纪已经茁长出新芽而代替陈旧的理论，这已经是不可否认的趋势了。 （下）

If we try to observe the artistic trends of the past century, we will find that there are countless "isms" and "movements," but most of them are short-lived. Only abstract art has been popular for over forty years, and there is no sign of its vitality declining. Especially in the twentieth century, almost every type of art has developed towards abstract art. Therefore, the term "abstract painting" no longer represents a specific ideology or a passing movement; it has become an international symbol, an international language.

Abstract art has existed for a long time, and its value has not diminished despite people's disdain and criticism; on the contrary, it has strengthened its influence and permeated into the training of young painters worldwide, as well as into the circles of commerce and amateur painting.

The existence of abstract painting is not a fortuitous achievement. It has gradually evolved and matured through a long period of development and extensive preparation. If we observe patiently, we can see that abstract art is constantly expanding: the works of Impressionist painters somewhat exhibit abstract characteristics. Cubism and Fauvism can be considered pioneers of abstract painting. In their frank works, there are many valuable materials that can serve as models for modern abstract painters.

In this way, we can see that abstract art is just a stage reached in the process of artistic evolution, a crystallization of various forms in the twentieth century. Although in the mid-twentieth century, abstract art provoked much hostility and controversy, its arrival had long been foretold in the logical progression of artistic life. We can conclude that the evolution of an organism cannot be stopped by ridicule, insults, or indifference.

Abstract painting has twenty different series and methods of expression. Therefore, it is not entirely misunderstood; it is something specialized and difficult to understand. We can simply and correctly acknowledge that it is a new transformation, based on new principles and facts, without adhering to any theorem; it is entirely a free self-expression.

The key to abstract painting lies in the freedom of self-expression, using appropriate techniques to develop the raw materials hidden within us. From here, we must find a path, and only then can we discover the truth. Furthermore, we need to consider, observe, and gradually study the composition of each work in depth along its normal path. (Part 1)

However, there is an important issue here: abstract works, unconstrained by themes, contain a strong need for creativity. "Freedom" allows a person to develop and discover oneself. We can create a style for the sake of creation. We can choose rules or any restrictions, whether indulgent or restrictive, we have absolute freedom. However, when our thoughts are not mature and our psychological preparation is insufficient, the beautiful term "freedom" cannot firmly attach itself to it. We should proceed step by step, with brave and calm determination to resolve abstract concepts; otherwise, we may easily fall into superficial populism and degradation.

Abstract art is the essence of art itself. It arises from a mysterious connection between the artist and the entirety of art. It does not involve any material concepts but directly expresses the spirit of oneself, providing emotional joy. However, we can solemnly say that abstract art does not abolish nature but represents nature in another way. Impressionist painters often placed their easels in front of the subject, contrasting the external scenery, but abstract painters immerse themselves in their inner realm. In other words, they open their hearts to the canvas and confide in it. The human mind is the greatest unexplored territory, where dreams and speculations, ideals and affections progress side by side. Our experiences with matter and nature leave indelible marks here. We should seek the greatest discoveries from here, specifically manifested in art.

So, what kind of painting can be called abstract painting? "Abstract painting" and "figurative painting" are two relative terms in visual art. Any work from which we cannot discern any traces of objective facts that constitute our daily life background is abstract painting. In other words, abstract painting cannot have any forms that evoke a tangible sensation; it can only be regarded as a purely visual artwork. When criticizing it, one cannot use criteria related to "content," "technique," "imitation," or "representation" of natural objects. Therefore, regardless of the scope, if natural objects are transplanted onto the canvas, it can only be considered figurative painting. If the "transplantation method" is executed in a way that conceals the true nature of natural traces, then such a painting is called "abstract painting." Such works can only convey the pure elements of structure and color to us.

The rise of abstract painting occurred between 1910 and 1917, centered in cities such as Paris, Munich, Moscow, Florence, and Zurich. (Part 2)

The two pioneering figures of the abstract art movement, Kandinsky and Mondrian, each made significant contributions. Kandinsky, after finishing his law practice at the age of twenty-nine, devoted himself to the study of painting. Drawing from his instincts and the rich experiences gathered during his twelve years of travels, he evolved from the Fauvist movement to establish abstract painting. His theoretical writings, particularly "Concerning the Spiritual in Art" and "Concerning the Spiritual in Art," caused a great sensation in the art world. His theory proposed that the highest realm of music is to perceive form without content, and painting, like music, should detach from objects and concepts, using a natural prototype to create emotionally organized abstract compositions. Just as musicians can produce pleasing harmony with sound rhythms and melodies, painters can create the highest and purest artistic works from the heart using the structure of forms and harmonious colors. He advocated organizing forms and colors appropriately to not only express the painter's inner emotions but also resonate with the viewer's feelings. Thus, the colors in his paintings harmonized like a musical tune, creating a painting's music. His art was not easily understood, but he opened up new territory for the next generation of artists, advancing exploration.

Mondrian, at the age of thirty-eight, traveled to Paris, where he was deeply influenced by Cubism. As a result, he began to explore novel sensations in painting and established a unique new style. In 1915, he founded "Neoplasticism," and from then on, Mondrian's path was clear.

In 1917, he led a group of young architects, painters, sculptors, novelists, art critics, and others in the Netherlands to publish the magazine "De Stijl" to promote "Neoplasticism" and continue the legacy of Cubism. Through their collective efforts, the abstract art of Neoplasticism became prevalent in the modern art world.

"Neoplasticism" is purely an expression of the artist's inner design, with its basic tenet being the use of rectangles as the fundamental form and the primary colors of blue, red, and yellow. It emphasizes the mutual relationship between clear, simple structures and absolute forms to govern the composition, focusing on the spatial properties of objects. The principle of achieving aesthetic harmony through the balanced arrangement of colors of varying intensities is pursued. This ideology strongly influenced and was widely applied in architecture, furniture, advertising design, and interior decoration.

Both Kandinsky and Mondrian lived long lives, allowing them to guide successors in extracting a series of values from simple elements. Criticisms and objections from critics and the public did not hinder the progress of abstract art. Its radiance illuminated every corner of the world. In fact, the century of art has sprouted new buds to replace outdated theories, which is an undeniable trend. (Part 3)