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2003年临近岁末,广东画家陈永锵的花鸟画个展在中国美术馆举办,在京的众多知名美术批语家出席了开幕式后举行的作品研讨会,对他的作品谈了不少肯定的意见。这一连串活动,气氛热烈且不乏岭南式的轻松,令人印象殊深。 从美术批评的立场而言,任何画家的作品都只是一各叙事资源,是第二创造的起点。要作出客观、准确和具备理论价值的判断,除了对作品和作者必不可少的深入把握和了解,还需把这一切放回特定历史段落和文化语境中进行立体的考察。以
Towards the end of 2003, a flower and bird painting solo exhibition by the artist Chen Yongqiang in Guangdong was held in the China Art Museum. Many famous art critic groups in Beijing attended the work seminar held after the opening ceremony and talked quite a lot about his work. This series of activities, warm atmosphere and no lack of Lingnan-style relaxed, impressive. From the standpoint of fine arts criticism, the works of any artist are merely narrative resources and the starting point of the second creation. To make objective, accurate and theoretically valuable judgments, in addition to the indispensable insight and understanding of the work and the author, we still need to put all this back into the specific historical passages and cultural context for the three-dimensional investigation. To