原始主義在繪畫與音樂的兩面性

The Dualism of Primitivism in Painting and Music

謝斐紋(Fei-Wen Shieh)

《藝術學報》 78期 (2006/04) Pp. 143-164

https://doi.org/10.6793/JNTCA.200604.0143

摘要

二十世紀交替之初，繪畫界的畫派有如雨後春筍的出現，蓬勃的發展，不同時空下醞釀著不同的氣氛與特質；法國的印象派或德國的表現派都有其獨特的創思與技法。惟原始主義的中心主軸在繪畫界持續影響著不同的畫派，從後印象派、野獸派到立體派均可見其蹤跡。這股潮流亦影響著其他藝術形式的發展，原始主義的成染力也出現在古典音樂中；史特拉汶斯基將俄國民謠與節奏運用於作品中，巴爾托克更將匈牙利民謠的採譜蒐集視為使命，甚而影響了音樂的學習態度與思維，間接成就了民族音樂學的產生。原始主義在繪畫與音樂間存在的意義和共有的特色值得瞭解與深究。

關鍵字

原始主義 ； 史特拉汶斯基 ； 巴爾托克 ； 後印象派 ； 野獸派 ； 立體派

並列摘要

At the turn of the twentieth century, big varieties of painting schools emerge vastly. Each painting school has different atmosphere and characteristics in different location. For example, French Impressionism or German Expressionism, each has its own unique creative ideas and techniques. The Primitivism is the exceptional one; its central principal is influential to other painting schools from Post-Impressionism, Fauvism to Cubism. The idea is also influential to other arts; it appears in the classical music as well. Stravinsky used the Russian folk tunes and rhythms in his compositions. Furthermore, Bartok notates and collects the Hungarian folk songs as part of his duties. By doing so, it opens another new world in the study of music-Ethnomusicology becomes possible. It is beneficial to understand and study the meaning and dualism of Primitivism in both painting and music.

並列關鍵字

Primitivism ； Stravinsky ； Bartok ； Post-Impressionism ； Fauvism ； Cubism

參考文獻

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