艺术的抽象主义

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的"表现"观念的历史考察着手，归纳出西方现代"表现"观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在"表现"观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的"否定性物象"来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

Hence, New Modernism can be abstracted into a re-creation for the culture, art and nature.

所以新都市主义可以抽象为文化、艺术、自然的再创造。

Over a rather long time, the concept generally accepted by us meant the human art history witnessed the conflict between realism and antirealism, while our traditional Chinese "wenrenhua (painting of man-of-letters)" was judged by principles of popular Western realism.

采用别的方法，如用象征寓意的或抽象、荒诞语言的艺术，即使有现实的品格和精神，常常被归入到别的主义里去。20世纪以来，我们先后提倡过现实主义、革命的现实主义、&革命现实主义与革命浪漫主义相结合&的方法。

The third one discourses upon the value of the form criticism of Beijing School's critical text The internal focalized criticism and the critic's identity of the same narrator is fresh in the history of modem Chinese literature.

京派的批评思想不是自由&主义&、抽象人性论和&为艺术而艺术&，而是对文学的权限、个体感性和人类生命、美的&不合时宜&的强调。

To briefly conclude Huang Gang's artistic innovation, there are threefold: a. succinct inner meaning of post-minimalism. b. the momentum of abstract expressionism, speed, and sentimental limning. c. the mystery and buildup of Tibetan cultural signs.

黄钢的绘画艺术语言创新性，概括而言有三种相互辩证、相互融合的意向，其一是后极简主义的简约和内敛；其二是抽象表现主义的气韵、线条运动速度、情感化的涂绘和灵动多变；其三是西藏雪域历史文化符号的神秘与厚重。

Those are mainly the Italian Futurism, the Dutch school by De Stijl in Holland, the metaphysical painting of De Chirico, Stravinsky's music, '400 Italian painting and architectural design, and further Japanese iconography.

有非常多的事物都是我艺术创作上的源头，也深深影响我的思考，这之中也包括当代的艺术脉动，像是近几年在义大利的「未来主义」和荷兰的De Stijl学院，以及De Chirico抽象画派和Stravinsky音乐，当然还有义大利的建筑设计，日本的图像设计等。

This article starts with a review of the history of the "Expression" conception in the Occident literature tradition,from which to conclude the base connotation of modern "Expression" conception in occident.Relying on this springboard,we analyses the history of the occidental modern plastic arts gradually ,then the naissance and development of the occidental modern plastic arts may boil down to a going-deep course driven by the "Expression" conception:the impressionism which had been pursuing sensual reality brought out a turning point from Representation to expression;Faurism accomplished the consciousness of Expression based on inheriting and criticizing Post-Impressionisme, and resisted the suppressant on Expression by Physical Image; the German Expressionism and Surrealism uplifted Expression at the same time they resisted Physical Image by "Nugatory Physical image"; From the apocalypse of Cubism,Suprematism and De Stijl tended towards Pure Plastic which excluded Physical Image completely,meaning that it had realized absolute Expression in the range of plastic;After WW II,artsists in western detected that Pure Plastic had actually suppressed Expression newly,as a result of Abstract-Expressionism and Mirnirnaliam Art,Expression broke away from Pure Plastic gradually to seek some new possibilities other than plastic.

本文从对西方文艺传统中的&表现&观念的历史考察着手，归纳出西方现代&表现&观念的核心内涵，以此为基点来逐步分析西方现代造型艺术史，进而将西方现代造型艺术的产生与发展归结为在&表现&观念驱动下不断递进的历史进程：印象主义对感觉真实的追求为造型艺术由再现走向表现打开了缺口；野兽派在继承和批判后印象主义的基础上首次实现了表现的自觉，并在艺术中反抗物象对表现的压迫；德国表现主义与超现实主义以不彻底的&否定性物象&来张扬表现反抗物象；至上主义、风格派等则在立体主义的启示下走向完全排斥物象的纯粹造型，在造型的范围内实现彻底的表现；二战后的西方艺术家们察觉到纯粹造型已经掉转头来形成新的对表现的压制；经由抽象表现主义、最低限艺术，表现逐步摆脱了纯粹造型，寻求造型之外的新的表现可能。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。