克利符號性繪畫作品的形式分析與繪畫美學

On Klee's Painting: From the Perspective of Stylistic Analysis and Painting Aesthetics:"

吳秋圓(Chiu-Yuan Wu)

《藝術論文集刊》 13期 (2009/10) Pp. 1-19

https://doi.org/10.29480/CPAR.200910.0001

摘要

克利(Paul Klee1879-1940)多樣性的作品形式，具象或抽象的繪畫呈現，都有他相當獨特的美感。本文中作者單從其創作生涯的後期中，繪畫風格以符號性表現為主要研究範圍，首先分析克利作品中符號性繪畫與中國古代象形文字之間類似之處，以及它們象徵的意義，然後再分析克利作品中的線條表現，透過感情的表現手法，然後運用他精采的線條，描繪它的世界以及在線條的表現中，繪畫作品呈現的畫面張力，他在符號性作品的表現中，富有隱喻及象徵意涵，而且符號性繪畫的二度空間呈現了三度空間的空間深度，在文中分析其空間美感。 最後以蘇珊•朗格(Susanne K.Langer1895-1982)的「情感與形式」的美學論點，分析克利作品中的意象與情感，作為文章末段，然後再把克利符號性作品做最後結論。

關鍵字

符號性 ； 抽象 ； 象徵 ； 意象

並列摘要

Klee's works uniquely demonstrated the elegancy in his versatile forms of works by presenting either concretized or abstracted paintings. In this paper, the author mainly investigated the symbolized painting style in his late periods of creation career. The similarity between the symbolized paintings in Klee's works and Chinese ancient hieroglyph as well as their symbolism is first analyzed. The line depiction in Klee's works is then studied. Through the sentimental ways, his mind was expressed by his sophisticated line depiction. The tension of his painting works is also studied. His symbolized painting works consisted of metaphorical and symbolic meanings. As analyzed in this paper, his works demonstrated that the two-dimensional symbolized paintings show the three-dimensional deepness.
In the last section of this paper, the imagery and emotion expression of Klee's painting works are analyzed by means of the aesthetic viewpoint of Susanne K. Langer's ”Feeling and form” and followed by the conclusion.

並列關鍵字

symbolization ； abstract ； symbolic ； imagery

參考文獻

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王秀雄(1991)。美術心理學。台北:台北市立美術館。

黑格爾、朱孟實譯(1981)。美學。台北:里仁。

何政廣(1999)。克利，詩意的造形大師。台北:藝術家。

J.J.德盧西奧─邁耶、李瑋譯、周水濤譯(1993)。視覺藝術設計。台北:地景企業。