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关于中国画家丁乙(1962年出生于上海)的评论文章往往具有一大显著的特点——不吝重墨阐述其标志性艺术特色:即由“x”和“+”等符号组成的几何图案,以及它们在内容表现和绘画技巧中的运用。不过,这些阐述和探讨却没有相应地提升人们对丁乙作品的理解。换言之,它们没有展现出在绘画艺术的“感悟”语境中,丁乙如何以画家的身份自处。有鉴于此,从欧洲的视角出发,将丁乙和他的作品置于当代绘画视角中,这不失为一种谨慎而简洁的尝试,虽有一定的冒险成分,但却是值得且有必要的。作为“85新潮运动”的先驱艺术家,丁乙于20世纪80年代中期在上海、北京等城市崭露头角。对于中国艺术的发展来说,
Commentaries on the Chinese artist Ding Yi (born in Shanghai in 1962) tend to have one notable feature - to share their iconic artistic features: symbols like “x ” and “+ ” Geometric patterns, and their use in content presentation and painting techniques. However, these explanations and discussions have not correspondingly raised people’s understanding of Ding Yi’s works. In other words, they did not show how Ding Yi lived as an artist in the context of “perception” of painting art. In view of this, it is a cautious and concise attempt to put Ding Yi and his works in the perspective of contemporary painting from a European perspective. However, it is worthwhile and necessary to have some adventurous ingredients. As a pioneer artist of “85 Trendy Movement”, Ding Yi emerged in the mid-1980s in Shanghai, Beijing and other cities. For the development of Chinese art,