美术的演变与新倾向
The Evolution and New Trends of Fine Arts

美术是永远在创新的过程中向前进展的！

当我们翻阅美术史的时候，无论在风格上，或是题材上，将会发现每一个时期的产物，都有着它们的差异点。例如：文艺复兴时期的画家比较喜爱运用优柔的光线，与温和的色调，去，处理他们所描画的主题事物，轮廓是清晰而分明的。及至巴洛克Baroque时期，画家则喜欢以晦暗的色调处理画面。把前景人物画得特别大，再以一道狭长的，带有神秘感的狭长光线，从侧面或上面投射在主题事物上；轮廓线却完全使之模糊。是要追求画面上的强烈效果，表现常用制造空间幻觉的手法以跃动的光影在画面上产生眩惑的美感。

再以希腊与文艺复兴时期的雕刻来说！虽然是以同样造型的一座裸像，或骑像来表现人的英姿，然而从希腊时期的雕刻上，我们会产生一种镇静、安稳而又文雅的感觉。当你看到一座杜那贴洛（Donatello 1386-1466）或米克兰基罗Michelangelo（1475-1564）所作的雕像时，你就会不禁地产生一种豪健、奔放与雄壮的感情。还要从中世纪卡泰孔白（Catacomb）的基督教美术起，直到现代曾有许多画家，都画过基督的脸型，但OOOOOOO你将会惊愕地发觉，为什么同样的基督描画对象竟会有许多不同的见解。由各时期的画家分别表达出来？

OOOOOOOOOO观赏美术作品，那么我们又将可以发现，十六世纪的画家是以精致可爱的眼光去观看事物的。十七世纪的画家，则以集合的幻象去观察事物。每一个世纪的美术观点都是那么的截然不同的。在美术史上，凡是有相似趋向的活动期间，美术史学家或批评家，都被称之为时期（Period）。不过所谓时期，只是一种广泛性的划分，若要精确地说明一个时期的起止时间与地点，或是要比较哪一个时期的美术最有价值，这些都是难以辨别的事。正如说我们现代的美术，已发展的绚烂的程度了。并不是说，现代美术可以远胜过古希腊时期或西班牙亚尔泰米拉（AtOOOOO）旧石器时代的洞窟美术。因为每一个时期的美术都有它的贡献与它OO身伟大的造就。许多的环境、批评家和公众人士都应用自定的量衡去评定怎样才是美。这种度量衡与其他时期的度量衡又有许多OO的地方，许多人都认为只有符合他们的OO才是真正有价值的美术作品。所以许多人不能鉴赏另一时期的美术，理由在于此。

今天我们就面临到这难以说服的困境。虽然许多画家都已步入了现代美术的新领域，但是许多的公众人士还是停留在所谓学院派的写实主义时期。从广义方面来说，这学院派美术是包括了最后一百年来的传统和保守的写实主义美术。

“学院派”这名词是由法国皇家美术协会引申出来的。当路易十四统一法国之后，便罗致了许多有名的美术家到宫廷里来，以精致纤巧的技术，大施华丽的装饰。于1644年，便在政府的支持之下，设立了这皇家美术协会。所以到了现在“学院派”这名词的意义，就解释是“政府所设立的传统技法”。同时还带有“陈腐”或“模仿”的影射意思。因为那时期的法兰西美术，可以说完全是文艺复兴的连续，有着后期文艺复兴的特色。十九世纪初期，学院派的美术就以写实为主要的目标，从后期文艺复兴的美术脱逸而出，产生了彻底的写实主义美术，得到政府的支援与奖励，并受到广大群众的赞赏。因此就成为美术研究的正O画派。在十九世纪的美术史上，成为强有力的主要趋向了。

接着，路易十六即位，因为邦贝的遗址被发掘，引起了画家的复古思想。所以在画坛上就出现了大卫David和应格利Ingres的追慕拉斐尔的作风。但是由于古典主义的美术，太过于注重形式的平衡，调和与节奏，压着了感情的发抒，用极端的理智去处理画面，所以就产生了一种如严冬冰雪一般寒冷的感觉，

到1820年以后，葛利各Gericault和狄拉柯罗士Delacroix又O了美术革命的旗帜，以生动纵肆的技法，活泼热情的色彩，把古典派的呆板冰冷的法则一扫而空浪漫主义就在美术史上留下了光辉的一页——然而浪漫派的回家，因为太过于偏重题材的要素，结果难免沉溺于文学的表现。所以这派的画家家常菜渐次感到意义而告败退了。

当写实主义尚未踏入成功之境以前，还有一段过渡时期，巴比仲派在这段时期中有最优良表现的是柯洛Corot的深幽朦胧，清超O丽，意趣微妙的风景画和Millet的虔诚纯朴，情绪深浓，富有感情的农民生活表现。

到了十九世纪中叶，柯尔培Courbet就以如实再现手法，兴起了美术史上彻底的写实主义。他不能画天使，因为他不曾见过天使。由这种轮调，就可以想见他所描画的题材，都是限于眼睛所看见的，他说形式并不重要，我们只要捉住物质感与守在OOO着柯尔培的有马纳Manet狄卡Degas，他们都扬弃了所谓高尚的主题，而专心一致的描画日常所能见到的人物与景色。捉住时间的一刹那，巧妙地表现出主观可视的真实。这种大胆独特的作风，OOOO使写实主义更进于彻底，更确立了十九世纪中叶不受束缚之写实主义的基本论调。

不过我们要知道，像Courbet， Manet和Degas，所以会成为历史上的伟大画家，并不是他们的写实主义所导致。我们暂且勿论作画的旨趣，只从他们的作品去鉴赏，就可以发现他们是排斥非现实的空想作风，以及一切理想的主题，他们是以巧妙的手法来处理画面的。同时在绘画方面并不曾失去个人的情绪的感触，以及独特新颖有持久兴味的风格。不过这种以忠实地再现自然为美术的目的，写实主义难免误导许多天赋颖异较差的画家们，倾向于摄影式的重视绘画。在这时期中，最能代表学院派写实主义的画家有Meissonnier(1815-1879)，Bouguereau(1825-1905)，Cabanel(1824-1889)和Couture(1815-1879)等，他们的作品正如现代的彩色照片一样的细腻、精确而真实。

学院派的写实主义美术，一直延续到二十世纪。虽然其势力范围已在渐次缩小中，不过它们的余波仍未完全消灭。就相信学院美术的法则，是任何时期的美术定律，因为它有许多显著的特征，他们就将此奉为金科玉律去衡量其他绘画的美术价值。这学院派技术的特征，大约可分为下列四点：
1. 是非常写实的美术，忠实准确地表现自然外部的形态，满足于感性的认识
2. 括了各方面的无限制的题材的选择，不被主题的选择所约束。
3. 重于专门技术和熟练技巧的运用。
4. 种美术喜爱采用故事的叙述法，完全是偏重于说明或记账式的文学上的描述。

所以妙肖自然，坚持逼真是学院派美术的特色。然而现代的美术，却从另一个新方向进展。现代的画家认为妙肖自然并不是美术的最高成就。罗斯金虽极力拥护“艺术模仿自然”，左拉也极力提倡自然主义，但是画家塞尚Cezanne却告诉左拉说：“我本来也想临摹自然，但是始终做不到，我不能再造太阳，但是我能表现太阳。”

因为画家认为自然是死物质，美术必须要使这死物质OO有生动的形式。一切的美只在于表现！所以在文艺复兴时期，写实主义时期，有许多的画家，他们的作品，有如摄录一般的正确精密。他们那高度的写实技巧，远胜过文艺复兴三杰和米勒或柯尔培，但他们的作品为什么不被人重视。他们也不被称为伟大的画家呢？这就是因为他们没有创作力，没有统一力。在一种事物之前，他们不具有一种独特的感觉。所以他们的作品不能称为艺术品，只是自然的复制品。法国批评家泰勒（H. Taine）曾经说过：“美术是以表现某种本质或特殊性质为目的的，因之也是以表现那较现实物所表现者更明显，更完整的某种重要观念为目的。”

因此，写实主义的美术已不能满足画家的需求了，他们认为写实主义的美术是缺乏了绘画上的美质与真髓的，那些以题材的联想或故事的叙述的兴趣，来打动观众的见解，已不为现代的美术家所采取了。所以他们努力的探索、钻研，要求获得美术上的精神与意义，以处理现代美术最昇华的造诣，他们把一切的传统模仿，都是绘画的致命伤，OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
OOOOOOOOOOOOOO画家的最终目的定要完成个人的创造境界，同时写实主义的绘画已经OOOOOOOOOOOOOO画家们都强烈地感觉的应该彻底改变，也是永远不会圆满的它必须变迁，必须发展，否则就是死亡！

到了二十世纪的今天，一切的美术都在新的意识之下展开，形式是逐渐被抽象的概念打消，而昇华为绘画的艺术形态，绘画只重于感情的写OO与个性的必须了！

本邦的美术，一向是受到OO的深刻影响。二十世纪西欧的美术风气亦宛如大风吹起，逼人而至，也夹其精力OOOOOOOOOOO，本邦的艺人，OOO直接或间接地，也夹其精力，OOOOOOOOOO
OOOOOOOOOOOOOOOOOOOOOOOOOOOOO在创作上，也产生一种蓬勃的伸展力。一个现代的画家，如果要在美术上有所成就，绝不是抄袭、临摹仿效所能奏功的，对于外来的思想、技法，我们但可容纳，贯通，只能作为一种OO平的来作出个人独创艺术来，饰曼说得好：“一个艺术家要像希腊的神一样，时常带着一副欢天喜地的面容和人世的生活接近。”

Art is always advancing through the process of innovation!

When we browse through art history, whether in terms of style or subject matter, we will find differences in the products of each period. For example, during the Renaissance period, painters preferred to use soft lighting and gentle colors to handle the subjects they depicted, with clear and distinct contours. By the Baroque period, however, painters liked to use subdued tones in their compositions. They depicted foreground figures particularly large, then used a narrow, mysterious beam of light from the side or above to cast onto the subject matter; the contour lines, however, were completely blurred. This was to pursue a strong visual effect on the canvas, using techniques commonly used to create spatial illusions and produce a mesmerizing aesthetic with flickering light and shadow.

Let's talk about sculpture during the Greek and Renaissance periods! Although the same statue or equestrian statue is used to depict a person's heroic posture, from Greek sculpture, we get a feeling of calmness, tranquility, and elegance. When you see a sculpture by Donatello (1386-1466) or Michelangelo (1475-1564), you can't help but feel a sense of robustness, boldness, and grandeur. From the Christian art of the Catacombs in the Middle Ages to many modern painters, they have all painted the face of Christ, but you will be amazed to find out why there are so many different interpretations of the same subject by painters from different periods?

When observing works of art, we will also find that painters of the 16th century looked at things with delicate and lovely eyes. Painters of the 17th century, on the other hand, observed things with a collective imagination. The artistic viewpoints of each century are so drastically different. In art history, periods with similar tendencies are referred to as periods by art historians or critics. However, the so-called period is only a broad classification. If one wants to accurately determine the start and end times and places of a period, or compare which period of art is the most valuable, these are difficult tasks. Just as our modern art has developed to a splendid degree. It is not to say that modern art can far surpass the art of ancient Greece or the cave art of the Altamira caves in Spain. Because every period of art has its contributions and great achievements. Many critics and members of the public apply their own standards to judge what constitutes beauty. This standard has many differences from the standards of other periods. Many people believe that only art that conforms to their standards is truly valuable. So many people cannot appreciate the art of another period for this reason.

Today we are facing the difficult dilemma of convincing others. Although many painters have entered the new field of modern art, many members of the public still remain in the so-called academic period of realism. Broadly speaking, academic art includes the traditional and conservative realism of the past hundred years.

The term "academicism" is derived from the French Royal Academy of Fine Arts. After Louis XIV unified France, many famous artists were recruited to the court to create exquisite and elaborate decorations. In 1644, with government support, the Royal Academy of Fine Arts was established. So now the meaning of the term "academicism" is explained as "traditional techniques established by the government." It also carries connotations of "staleness" or "imitation." Because the art of that period in France can be said to be a continuation of the Renaissance, with characteristics of late Renaissance art. In the early 19th century, academic art mainly aimed for realism, breaking away from the art of the late Renaissance and producing thorough realism, supported and rewarded by the government and admired by the masses. Therefore, it became the mainstream of art research. In the art history of the 19th century, it became a powerful major trend.

Next, when Louis XVI ascended the throne, the excavation of the ruins of Pompeii sparked a revival of antiquity among painters. So in the art world, there appeared followers of the style of Raphael, such as David and Ingres. However, because classical art placed too much emphasis on formal balance, harmony, and rhythm, stifling the expression of emotions, and used extreme rationality to handle the composition, it created a feeling as cold as severe winter ice and snow.

After 1820, Gericault and Delacroix raised the banner of artistic revolution again, using vivid and unrestrained techniques, lively and passionate colors, sweeping away the rigid and cold rules of the classical school, and romanticism left a glorious page in art history. However, the return of romanticism, because it focused too much on the elements of subject matter, inevitably led to indulgence in literary expression. Therefore, painters of this school gradually felt the lack of significance and retreated.

Before realism had achieved success, there was a transitional period. In this period, the Barbizon school had the best performance, with Corot's deep, hazy, clear and beautiful, subtly interesting landscape paintings, and Millet's devout, simple, emotionally rich portrayal of peasant life.

By the mid-19th century, Courbet rose with a completely realistic approach, ushering in a thorough realism in art history. He couldn't paint angels because he had never seen angels. From this rotation, one can imagine that the subjects he painted were limited to what his eyes saw. He said that form was not important, we only need to capture the material sensation and adhere to the truth. Following Courbet were artists like Manet and Degas, who abandoned the so-called noble themes and focused on depicting everyday people and scenes. Capturing a moment in time, they cleverly portrayed subjective reality. This bold and unique style further advanced realism and established the fundamental principle of unrestricted realism in the mid-19th century.

However, we must understand that figures like Courbet, Manet, and Degas became great artists in history not solely because of their realism. Let's set aside the purpose of their painting for now and appreciate their works. We can see that they rejected unrealistic and idealistic styles and themes, opting instead to handle their compositions with skillful techniques. At the same time, they did not lose the personal emotional touch in their paintings, exhibiting unique and enduring styles. However, this pursuit of faithfully reproducing nature as the aim of art inevitably misled many less talented painters towards a photographic emphasis in painting. During this period, the most representative painters of academic realism included Meissonnier (1815-1879), Bouguereau (1825-1905), Cabanel (1824-1889), and Couture (1815-1879), whose works were as delicate, precise, and realistic as modern color photographs.

The academic realism of the academy persisted into the 20th century. Although its influence gradually diminished, its repercussions were not completely eradicated. Believing in the principles of academic art as the laws of art for any period, they regarded these rules as the standard by which to measure the artistic value of other paintings. The characteristics of academic technique can be roughly divided into the following four points:

1. It is highly realistic, faithfully and accurately representing the external forms of nature, satisfying sensory cognition.
2. It includes a wide selection of unrestricted subjects, not limited by the choice of themes.
3. It emphasizes the use of specialized techniques and skilled craftsmanship.
4. It favors narrative storytelling in art, focusing more on descriptive or narrative literary accounts.

Therefore, the characteristic of faithfully portraying nature is the hallmark of academic art. However, modern art progresses in a new direction. Modern painters believe that faithful portrayal of nature is not the highest achievement of art. Though Ruskin strongly advocated "art imitating nature," Zola vigorously promoted naturalism, the painter Cezanne told Zola, "I also wanted to copy nature, but I could never do it. I cannot create the sun again, but I can depict the sun."

Because painters believe that nature is lifeless matter, art must imbue this lifeless matter with vivid forms. All beauty lies in expression! Therefore, during the Renaissance and the period of realism, many painters produced works that were as precise as recordings. Their highly realistic techniques surpassed those of the Renaissance masters and artists like Millet or Courbet, but why were their works not valued? Why were they not considered great painters? It's because they lacked creativity, lacked unity. Before a subject, they did not possess a unique feeling. Therefore, their works cannot be called works of art, only copies of nature. The French critic Taine once said, "Art is aimed at expressing a certain essence or specific quality, and therefore also at expressing a certain important idea that is more evident and complete than what is represented by the more realistic object."

Thus, the realism of art can no longer satisfy the needs of painters. They believe that realism lacks the aesthetic qualities and essence of painting. The interest in associating themes or narrating stories to impress viewers' insights is no longer adopted by modern artists. So they strive to explore, research, and seek the spiritual and meaningful aspects of art in order to achieve the highest level of modern artistry. They consider all traditional imitations to be fatal wounds to painting, OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO. The ultimate goal of painters must be to achieve a personal realm of creativity, and realism in painting has already been OOOOOOOOOOOOOOOOOO. Painters strongly feel that it should be thoroughly changed and will never be satisfactory. It must change, it must evolve, otherwise, it is death!

Today, in the 20th century, all art is unfolding under new consciousness. Form is gradually dispelled by abstract concepts and sublimated into the artistic form of painting, which only emphasizes emotional expression and the necessity of individuality!

Our country's art has always been deeply influenced by OOO. The artistic atmosphere in 20th-century Western Europe is like a strong wind blowing, forcing people to come and go, and also stirring up the spirits of OOOOOOOOOOOOOOOOOOOOOOOOOOOOOO. Our country's artists, whether directly or indirectly, have also been influenced by OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO, resulting in a vigorous expansion in creativity. For a modern painter to achieve success in art, mere imitation and copying will not suffice. We can accommodate and integrate external ideas and techniques, but we can only create personal original art, as Schiller put it: "An artist should approach life with a cheerful face like a Greek god."