论古典主义与浪漫主义的美术
Discussing the art of Classicism and Romanticism.

论古典主义与浪漫主义的美术（上）

美术的真理是不断的发展，人类的认识是无限的的进步，只有站在实践的立场上的人，才有能力把握得到所谓真理表现的生命的进步！宇宙万物的内部，都包含着矛盾的要素，如果没有矛盾的事物，那么，这个世界就可永远不变地维持现状，永远像一潭死水般地静止而没有变动了，美术完全是一种亲情的活动，许多人都是为了自己的情趣而从事绘画，并不是因为要迎合他人的趣味，或博取他人的赞赏而作画的。所以美术可说是精神表现的一种形式。这种各自精神的表现，就造成了每个画家的作风，以及每个时期的相似趋向的活动，因此在美术史上就出现了许多的画派与主义了！

美术的内部是含蓄着更巨量的矛盾元素的，一切的绘画形式、技巧、法则都没有固定的标准，在我看来认为是绝对的真理，可是你却可以认为是荒谬虚妄。今天也许大家都公认是真理，明天也可以全部将之推翻。因此在美术运动的过程中，就发生了许多绘画主义的生灭，以及画派的兴衰趋向了！不过美术本身就是根据这种矛盾的现象而演变而进展，所以它永远不能达到圆满的止境。

我们试翻开晚近的西洋美术史，就可以发现，在美术活动的境域中，在创造的形式上，往往可以遇到两个相反的倾向。正如古典主义与浪漫主义的对立，就是一个最明显的例子了。这个倾向全是由于画家对于自然现象，自身的理智把捉，和超越现象的精神表现的结果所导致的。

我们知道古典主义与浪漫主义是对立的两画派。但是古典主义是什么？浪漫主义又是什么？我们要怎样才能识别这两种主义的美术？它们在精神与趣味方面又表现了什么特征？首先我们必须从两方面去观察：一方面追溯这种画派的产生之由来。一方面研求画面上构成的根本方法。这样才能分析彼此之间的异同。

在十八世纪末叶至十九世纪初期，法国的画坛上，就出现所谓古典主义的绘画了。同时在近代西洋美术史的第一页，也是由古典主义开始的。当时标榜着古典主义运动最力的一员健将就是大卫（David 1748-1825）。那时候的人们都极其厌恶罗可可式的淫靡繁琐的宫廷美术，同时因为邦贝遗址的发掘，唤起了人们对古代希腊罗马的美术，以及最炽热的感情，加以法国国内因政局的动荡不安，人民憎恨贵族和布尔朋王的专横，更引起了他们崇拜古代英雄、与罗马共和政治的向往！这种崇古的思想，一发便不可遏抑！于是，“到罗马去！”便成为了一般考古学家和美术家的口号了！大卫为了反对罗可可美术的矫揉造作，过分纤巧柔弱的形式。所以他藐视了一切被常人视为“入门捷径”的传统美术法则，发愤忘食地凭靠着自己的天才，努力去钻研。当他第二次从意大利归国时，已是一个杰出的美术家了。当时，他更为了不满政治与社会的情状，而决心要成为一个革命的艺术家，涉进了政治的漩涡。他曾经荣极一时地被拿破仑封为“美术总监”，但是他的晚景却是极凄凉孤苦地在比利时度过。他一生倡言以古典美术的精神来奠定近代艺术的基础。所以他选择的，画材多是希腊罗马的历史及古代传说为本。他尤其热心于古代美术的形式节奏的追求！他那勇于改革的精神，是值得后世所钦佩的！

大卫的后继者（Ingres 1780-1867），尤为彻底的古典主义画家。他于十六岁时在大卫的画室里习画，后来，曾在罗马居留了十八年的悠长岁月，专心地苦研古希腊罗马的雕刻风味，致力融化古代的典型美。他曾画了许多有大家作风的史事画与宗教画，尤其长于描画女性！他在画面上所表现的均整的形式，丰丽的肉体、柔和的线条、沉静的姿态、细致的肉调……，都可以称得上是古今无匹的！

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论古典主义与浪漫主义的美术（下）

他的绘画完全是以技术艰深和精巧胜人，完全侧重于类型，而忽略了个性与感情。他曾经以这样的信条去训诫他的学生：

“我们应该根据古代及拉斐尔去观看自然，去描画自然！”

“线条就是一切美术的本质！”所以这种美的理想，便是古典主义的美术精神了。他们只在形态中认出一切的美，注重单纯的本色，重视形式的整齐，均衡与调和，而抹杀了人性固有的天真与感情！致使许多后继者徒践古人的陈迹，造成了只顾歌颂古代美术的冰冷画面！

当然，火山的熔流是受了地壳的重压才喷发出来的，美术的精神也永远不会让某种意识有恒久兴盛的时候。艺海也正像海洋一样，在暖流之下，还潜伏着一股的寒流在运行着，这是宇宙万象必有的一种矛盾现象因时代的推移，人们对于这种缺乏了生命之火的古典主义美术，已不能再感到满足了。所以大卫的另一个弟子格罗士（Antoine Gros 1771-1835）则一反大卫之摹古与写形。他主张重新张目观察自然与人生，为了追求画面上所表现的真实感，他曾经不惮厌烦地跑到病院中去观察病人临终时的痛苦表情，耐心地观察尸体腐烂的经过，甚至还请了患黄疸症的病人来做他的模特儿。经过一段长时期的观察，揣摩，才动手去作画。他的杰作《美杜杀之筏》，就是这样的情形之下而完成的一幅作品。其画风之生动活泼，气氛之紧张激烈，实在是从古典主义转向浪漫主义的最妥切的证明！所以在美术史上，就把他列为浪漫主义的开山始祖了！他的画风，给予后来的画家莫大的影响！

到一八二〇年以后，因思想之所趋，这种主张用热烈刺激的色彩，描画活跃奔放的戏剧化场面的浪漫主义美术，已在风行一时的古典主义之下发荣滋长，而且有了长足的进步！这一股暗潮一直酝酿到狄拉窪斯（Delacroix 1798-1863）时代才猛然地爆发了！

狄拉窪斯以生动纵肆的技法热烈精妙的色彩，如泉涌一般的生命热情，使绘画从严肃的线条，及冰冷形式的典型桎梏中，活跃出来了。并替近代的印象主义画家，发掘了一条光明的道路。当时，他难免受到一般社会舆论的指摘与批评家的讥讽。然而，这些都不能阻扰他作画的热情，他完全置之不顾，仍以他的天才与努力为实现他的理想而作画。因此而赢得了“浪漫主义的狮子”的绰号！

他喜欢从但丁、莎士比亚、歌德和拜伦等诸大文豪的作品中吸取养料，作为他的绘画上的题材。他著名的照片有《十字军入君士但丁堡》和《一八三〇年七月廿八日》。画中的人物，都是在运动的状态中；表情紧张、笔触奔放、色彩浓烈，一反古典主义的冷静作风。所以英格利极厌恶他，认为他是美术界的大恶魔！但是潮流所趋，浪漫主义到底是取代了古典主义在画坛上的努力，而公开地出现了！

我们知道浪漫主义的暗流，早就潜伏在人们的心理，它的主旨，已可以从上述两位先锋画家的论调，以及作画的态度察见一斑了。这种美术的创造是根据更进一步的对现实作精锐的观察而成的。同时这种重热情，富想象的浪漫主义也激烈地反对古典主义的色彩，因为古典主义的色彩只是作为绘画上的一种辅助手段，而浪漫主义则认为色彩是画中的生命与灵魂。而且色彩的本身也可以造成形状，无需要借重轮廓的线条。由狄拉漥斯的画面上，我们就可以证明这一点。他为了要达到表现的目的，往往只为了色彩而不顾线条与姿态的正确倾向的。同时，它也并不抑制本能的推动力，甚至凭依画家激动的热情，使心灵更活跃，可以不断的展开其画境。更以直接的天赋才能去从事创造，藉以提高作画的情绪，以达到诗一般的境界！到这时候，卢梭的哲学才真正的为浪漫主义实现了！那超凡的，崇高的，深入到自然的真善美，使画人得到了无限的安慰，具有了坚定的自信心！

从这两画派所发表的美术精神与概念，以及画家作画的旨趣去研讨，我们可以发现这派绘画的各异情趣：

（一）古典主义的美术，是以心灵至上为原则的。它完全根据理想的视察物体的方法，去追求真善美。它最高的目的是以最简单、最抽象的法则，使“美”具体化。

浪漫主义的美术，是以个性至上为原则的。他着重本身与世界关系的情操，更深一层地暴露自我的感情。它最高的目的，是以自然的现象，诱致诗情的创作。

（二）古典主义是纯理性而冷静的绘画，它并不表现实际的生活，而是心灵所控制的事物以规则化为理想 ，而操纵画家的观念。

浪漫主义是重情绪而挚热的绘画，它极力主张深养感情于自然。它是由高度热情所创造的产物，以强调的色彩表现为理想，一任画家的本身统卸自己。

（三）古典主义是把画家自己的全部心情，冷酷地融合在过去的陈迹古型中，处处想与古人争长短，可说是因袭的形式主义的美术。

浪漫主义是漫画家自己的情感，热烘烘地活在时代的人群中，时时以现时情况的确切实感为标准，可说是时代的创造性美术。

正因为古典的理想主义，是片面的抽象观念，不能完成人类复杂的灵感的统一；而浪漫主义可以克服这缺点，使之成为诗情画意及富有温暖的人情味的画面。所以这转变就引起了十九世纪多变，多产的画家群出现，推动着进步的巨轮，朝向二十世纪的新美术园地而进发！不过，浪漫主义虽然打破了古典主义的因袭，刻板与划一的美术精神，而导致于感情自由的彻底色彩。然而，浪漫派的画家与古典主义的画家，他们的画题都一样的太过于偏重题材的要素；所不同者只是浪漫派画家舍古希腊罗马的历史与传说，而改取但丁、莎士比亚、拜伦等大文豪的作品，结果不免耽溺于文学的表现，移浸入一种文学的感情而欠缺了绘画的本质精神，不过古典主义与浪漫主义在美术史上都留下了光荣的一页，这已是不可否认的事实了！

Discussing the art of Classicism and Romanticism (Part 1)

The truth of art is constantly evolving, and human understanding is infinitely progressive. Only those who stand on the platform of practice have the ability to grasp the progress of life's expression of truth! Within the universe, everything contains contradictory elements. Without these contradictions, the world would remain stagnant and unchanging like a dead pool of water. Art is entirely an activity of affection; many people engage in painting for their own pleasure, not to cater to others' tastes or seek their approval. Therefore, art can be said to be a form of spiritual expression. These individual expressions of spirit result in each artist's style and the similar trends of each period's activities. Thus, in the history of art, many art movements and schools have emerged!

The internal realm of art is imbued with even greater contradictory elements. All forms, techniques, and rules of painting have no fixed standards. What I may consider absolute truth, you may deem absurd and fallacious. What is universally accepted as truth today may be completely overturned tomorrow. Therefore, in the course of artistic movements, many art doctrines have emerged and declined, and the rise and fall of art movements have occurred! However, art itself evolves and progresses based on these contradictory phenomena, so it can never reach a perfect conclusion.

If we examine recent Western art history, we can find that within the realm of artistic activity and in the creation of forms, we often encounter two opposing tendencies. The opposition between Classicism and Romanticism is the most obvious example. This tendency arises from the artists' grasp of natural phenomena, their own rationality, and the spiritual expressions that transcend phenomena.

We know that Classicism and Romanticism are two opposing art movements. But what exactly is Classicism? And what about Romanticism? How can we identify the art of these two movements? And what characteristics do they exhibit in terms of spirit and taste? First, we must observe from two perspectives: one is to trace the origins of these movements, and the other is to study the fundamental methods of composition in artworks. Only then can we analyze their similarities and differences.

In the late 18th to early 19th centuries, the French art scene witnessed the emergence of what was called Classical painting. Similarly, the beginning of modern Western art history is marked by Classicism. One of the most prominent figures championing the Classical movement at that time was David (1748-1825). People at the time were extremely disenchanted with the decadent and frivolous court art of the Rococo style. Additionally, the excavation of Pompeii and Herculaneum reignited people's fervor for ancient Greek and Roman art, as well as their admiration for ancient heroes and the republican politics of Rome. This reverence for antiquity became unstoppable! Thus, "to Rome!" became the rallying cry for archaeologists and artists alike. David, in opposition to the artificiality and excessive delicacy of Rococo art, disregarded all traditional artistic rules considered "shortcuts" by ordinary people and devoted himself tirelessly to study, relying on his own genius. When he returned from Italy for the second time, he was already an outstanding artist. At that time, he was determined to become a revolutionary artist in response to the political and social situation. He was once gloriously appointed as the "Director of Fine Arts" by Napoleon, but his later years were spent in loneliness and misery in Belgium. Throughout his life, he advocated for laying the foundation of modern art with the spirit of classical art. Therefore, he often chose subjects from Greek and Roman history and mythology for his paintings. He was particularly enthusiastic about pursuing the formal rhythm of ancient art forms! His bold spirit of reform is worthy of admiration by later generations!

David's successor, Ingres (1780-1867), was an even more thorough Classical painter. He began studying art in David's studio at the age of sixteen and later spent eighteen years in Rome, diligently studying the sculptural style of ancient Greece and Rome, and striving to integrate the typical beauty of antiquity. He painted many historical and religious works with his distinctive style, especially excelling in depicting women! The balanced forms, exquisite bodies, soft lines, serene postures, and meticulous rendering of flesh tones in his paintings can all be considered unparalleled throughout history!

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Discussing the art of Classicism and Romanticism (Part 2)

His paintings were entirely characterized by technical complexity and precision, focusing solely on typology while neglecting individuality and emotion. He once instructed his students with the following creed:

"We should observe nature according to the ancients and Raphael, and depict nature!"

"Line is the essence of all art!" Therefore, this ideal of beauty represents the spirit of Classicism in art. They recognize all beauty in form, emphasizing purity, formal neatness, balance, and harmony, while suppressing the inherent innocence and emotions of humanity! This led many successors to tread in the footsteps of the ancients, resulting in the creation of cold images that only extolled ancient art!

Of course, the molten flow of a volcano is erupting due to the heavy pressure of the earth's crust, and the spirit of art will never allow any consciousness to thrive indefinitely. The art world is like the ocean, beneath the warm currents, there is still a cold current lurking, which is a contradiction inherent in the universe. As time passed, people became dissatisfied with the lack of vitality in Classicism, devoid of the fire of life. Therefore, another disciple of David, Gros (1771-1835), completely abandoned David's imitation of antiquity and formalism. He advocated for a fresh observation of nature and life in pursuit of realism in artistic representation. He did not hesitate to tirelessly observe the painful expressions of dying patients in hospitals, patiently watched the process of bodies decomposing, and even hired a jaundiced patient as his model. After a long period of observation and contemplation, he began painting. His masterpiece "The Raft of the Medusa" was completed under such circumstances. Its vivid and lively style, tense atmosphere, are indeed the most appropriate evidence of the transition from Classicism to Romanticism! Therefore, in art history, he is considered the pioneer of Romanticism! His style had a great influence on later painters!

After 1820, due to the trend of thought, Romanticism, which advocated for using vivid and stimulating colors to depict lively and dramatic scenes, flourished under the declining influence of Classicism and made significant progress! This undercurrent continued to ferment until the era of Delacroix (1798-1863) suddenly erupted!

Delacroix's vibrant and unrestrained technique, passionate and exquisite colors, and gushing life enthusiasm brought painting out of the shackles of strict lines and cold forms of typical Classicism, and paved the way for modern Impressionist painters. At that time, he inevitably faced criticism and ridicule from the general social opinion and critics. However, this did not deter his passion for painting. He completely disregarded them and continued to paint with his talent and effort to realize his ideals. Therefore, he earned the nickname "the lion of Romanticism"!

He liked to draw inspiration from the works of great literary figures such as Dante, Shakespeare, Goethe, and Byron for his paintings. His famous works include "The Crusaders Entering Damascus" and "July 28, 1830". The figures in his paintings are all in motion; their expressions are tense, brushstrokes bold, and colors intense, all contrary to the calm style of Classicism. Therefore, Ingres detested him intensely, considering him a great demon in the art world! However, as the tide turned, Romanticism eventually replaced Classicism's efforts in the art world and openly emerged!

We know that the undercurrents of Romanticism had long been lurking in people's minds, and its theme can already be seen from the statements and attitudes of the two pioneering painters mentioned above. This artistic creation is based on a more acute observation of reality. At the same time, this passionate and imaginative Romanticism vehemently opposes the colors of Classicism because Classicism's colors are only considered as auxiliary means in painting, while Romanticism regards color as the life and soul of the painting. Moreover, colors themselves can create shapes without the need for contour lines. We can see this from Delacroix's paintings. In order to achieve the goal of expression, he often disregarded correct tendencies of lines and postures for the sake of color alone. At the same time, it does not suppress the driving force of instincts, and even relies on the painter's excited passion to make the mind more active, continuously unfolding the painting. It uses direct natural talent to engage in creation, thereby enhancing the emotional aspect of painting to reach a poetic realm! At this point, Rousseau's philosophy truly realizes Romanticism! The extraordinary, sublime, and deep exploration of the true goodness and beauty of nature brings infinite comfort to the artists, instilling them with firm confidence!

From the artistic spirit and concepts expressed by these two schools of painting, as well as the artists' intentions in painting, we can discover the diverse interests of this genre of painting.

(1) Classical art is based on the supremacy of the soul. It entirely follows the method of ideal contemplation of objects to pursue the true, the good, and the beautiful. Its highest purpose is to concretize "beauty" using the simplest and most abstract principles.

Romantic art is based on the supremacy of individuality. It emphasizes the emotions related to oneself and the world, exposing the emotions of the self on a deeper level. Its highest purpose is to induce poetic creation through natural phenomena.

(2) Classicism is pure rational and calm painting. It does not depict actual life but rather idealizes things controlled by the soul into rules, manipulating the artist's conception.

Romanticism is emotional and fervent painting. It strongly advocates nurturing emotions in nature. It is created by intense passion and idealizes expressive colors, leaving the artist to express themselves freely.

(3) Classicism blends the painter's entire mood coldly into past traces of antique types, constantly comparing with the ancients, and can be said to be an inherited formalistic art.

Romanticism expresses the artist's emotions warmly among the people of the time, always based on the exact sense of the present situation, and can be said to be the creative art of the era.

Because classical idealism is a one-sided abstract concept that cannot unify the complex inspirations of humanity, whereas Romanticism can overcome this shortcoming, turning it into poetic and warm-hearted scenes. Therefore, this transformation has led to the emergence of a varied and prolific group of painters in the 19th century, driving the wheel of progress towards the new artistic realm of the 20th century! However, although Romanticism broke away from the hereditary, rigid, and uniform artistic spirit of Classicism, leading to the complete coloration of emotional freedom, both Romantic painters and Classical painters placed too much emphasis on the elements of the subject matter. The only difference is that Romantic painters abandoned the history and legends of ancient Greece and Rome, opting instead for the works of great literary figures such as Dante, Shakespeare, and Byron. As a result, they inevitably indulged in literary expressions, immersing themselves in a literary sentiment and lacking the essential spirit of painting. Nevertheless, both Classicism and Romanticism have left a glorious page in art history, which is an undeniable fact!