对立之美|聊着聊着就听完了500年西方艺术史
给小白白的有声书不知道大家有没有和我类似的感觉：
明明逛过不少美术馆，也读了不少艺术家传记，但最终什么也记不真切。
看到一些传世名画，觉得似曾相似，但总容易张冠李戴，高更梵高傻傻分不清。
以及在接触西方艺术时，我还有无穷无尽的疑问：
为什么文艺复兴期间的画作那么生动逼真，张力十足？
为什么现在的艺术画，反而看起来莫名其妙、稀奇古怪，让人难以理解？
为什么西方艺术中有那么多神圣严肃的宗教画，又有极其奔放的人物裸体画？
绘画风格是怎么演变的，比如一片朦胧的印象派?
艺术到底是什么，又有什么意义，为什么艺术家好像都有点疯疯癫癫的？
我来讲故事，通过严伯钧的这部《对立之美：西方艺术500年》，以二元对立的方法对文艺复兴以来的西方艺术史进行解构，也许能让你拨云见日、豁然开朗。因为，你将了解到的不只是一部文艺史，而是得到一柄小刀，按照西方现代文明发展的核心脉络，庖丁解牛、抽丝剥茧，最终弄清楚西方现代文明、自文艺复兴以... more
| Publishes | Daily | Episodes | 70 | Founded | 2 years ago |
|---|---|---|---|---|---|
| Language |  ZH-CN | Categories | ArtsHistoryVisual Arts | ||
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欢迎继续收听对立之美。到今天，咱们的这本书也到了尾声的阶段了，一块儿共同去回顾了西方艺术史在这五百年当中的变化，从文艺复兴一直到了现当代的绘画和音乐。著名的艺术史学家，奥地利裔的英国人贡布里希爵士曾经在他的著作《艺术的故事》当中表达了一个核心观点：没有艺术，只有艺术家。 关于艺术是什么，想用一句话做完整且精确的定义确实非常难。艺术显然是存在的，艺术的定义随时代发展也在不断变化，在数学里面存在着比如抛物线，双曲线，贝塞尔函数，勒让德函数等等各种各样漂亮的函数。这些函数在数学上都拥有高度自洽的美感，... more
欢迎继续收听对立之美。就如二战之后，现代艺术迎来了一次全新的转变一样，现代音乐呢，也进入了当代音乐阶段，甚至是实验性音乐的阶段。这一时期的作曲家就如当时的艺术家们一样，试图要去扩大音乐的疆界，试图重新去定义什么叫做音乐。新音乐版图扩张的一个重要方向就是去挖掘全新的音响效果，跳出传统音乐的管弦乐范围，去寻求新奇的声音，全新的音乐语言。法国作曲家梅西安可以说是这方面的先驱，他首次在交响乐当中加入了电子音乐。在波士顿交响乐团的委托作品图伦加利拉交响曲当中，梅西安使用了一种叫做马特诺琴的电子乐器。能发出... more
欢迎继续收听对立之美。在讲到绘画的时候，说到达达主义，那是对传统艺术审美的极端颠覆，是第一次世界大战代表的社会矛盾在精神领域的写照。在一战爆发之前，各个文化领域都显现出这种矛盾的积累。俄罗斯作曲家斯特拉文斯基之于二十世纪的现代主义音乐，就好比毕加索之于现代主义绘画一般。两个人年龄也相仿。斯特拉文斯基的春之祭是当时创新音乐作品当中最能体现一战预兆的。春之祭是一部芭蕾舞剧的配乐，拉开了现代主义音乐的新篇章。这部作品表现的是俄国原始部落祭祀大自然的一种仪式，再现部落推举出的季春少女用剧烈舞蹈的方式升天... more
欢迎继续收听对立之美。古典音乐和现代音乐的分水岭是谁呢？是勋伯格。总体上，勋伯格之前的音乐家写的都是调性音乐。关于什么是调性，在斯拉夫和法兰西那章当中咱们已经有所提及。他的创作体系最早是由法国巴洛克时期的作曲家拉莫所确定下来的，是以主和弦，属和弦以及下属和弦为主要动因的和声体系。这就像古典绘画总是以描绘自然为目标。古典音乐也一样，音乐拥有调性是不言而明的默认设置。否则，古典音乐中，尤其是在古典时期的作品里面就不会有大量的什么什么调儿第几交响曲的命名格式了。进入现代主义艺术时期之后，无论是绘画还是... more
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