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1989年之后以关注社会现实问题为主要语言特征的具象艺术,使得中国当代绘画从理想性的纯粹语言自闭性中挣脱了出来,开始了对现实人性和生存状态的触及,其特征是对发展变化中社会问题的反映,由对纯粹性、专利性的追求,变成了平和的体现性,从单一的视觉性走向了文学般的言说性.宫立龙正是在这样的一种大的背景下,从1992年之后便从大都市化的纯粹性的视觉语言追求中,转向了视觉的描述与陈示.宫立龙几乎从来没有停止过对社会及时事周遭生存空间的关注,而且一直都试图努力用他那敏锐的直觉去把握社会现实问题.也正是由于他的敏感,故此导致了他在艺术风格上的多次变迁.但他的几次风格上的转变,并非是简单的为变化而变化,从他的每次衍变中几乎我们都可以感受到与此时文化的某种共时性.在80年代初期,西方文化的大量涌入,一度他曾接受了一些立体主义者的几何化形式语言,在《路》中,倾注了他对觉醒了的“文革”
Since 1989, the concrete art with the main language feature of paying attention to social reality has made the Chinese contemporary paintings get rid of the ideal pure language autism and started to touch on the reality of human nature and state of existence. The reflection of the changing social problems has changed from a pursuit of pureness and patentability to a peaceful manifestation from a single vision to literary speech.Gong Li-Long is just such a big The background has been shifted from a purely visual language pursuit of metropolitanization to visual depiction and presentation since 1992. Miyazaki has almost never stopped paying attention to the living space around society and current affairs and has been All try hard to use his keen intuition to grasp the problems of social reality.It is precisely because of his sensitivity that it led to his many changes in artistic style.However, his changes in style are not simple Change for change, from time to time almost every one of us can feel a certain synchronicity with the culture at this time.In the early 1980s, a large influx of Western culture, once he had accepted a Cubism geometrical form language, the “Road” in 2008, he devoted the “Cultural Revolution” of the awakened