20世纪60年代和70年代的艺术家,身处于不同年代,拥有各自的知识背景和思维方式,笔墨趣味在继承传统文化的同时而各有特点。同样是源自生活的艺术方式,两个年代的主流文化的碰撞,分释着各自行使的话语权。 20世纪60年代的艺术家,成长于改革年代,抢走了“新生代”的概念,画面呈现为丰富多元的自由姿态。女性形象是20世纪60年代热衷表现的题材之一,是内心独白和闲世情绪的汇聚;对于传统绘画语言的迷恋,是20世纪60年代的另一显著特征。它处在苦难的20世纪50年代和加世纪70年代之间的过渡期,必然存在某种探索性因素,包括对社会、时代、生活等诸多问题的探索,这种尝试在精神层面上具有某种共通性。20世纪70年代的新人则在消费主义的冲击下回归到生活的原生状态,将中国画的本土语言合情合理地演变,较六十年代素材更宽广,抽象因素增多,可选取资源处于一种观念所至的自在选取状态。萌生似物非物的不约而同,以期在绘画中达到“形象与观念的平衡”。 In the 1960s and 1970s, the artists in different ages had their own knowledge backgrounds and ways of thinking. The fun of the pen and ink, while inheriting the traditional culture, had their own characteristics. The same is the art style of life, the collision of the mainstream culture of the two ages, and the interpretation of their own right to speak. The artists of the 1960s grew up in the era of reform and took away the concept of “new generation”. The images showed a rich and varied freedom. The image of femininity is one of keen expressions in the 1960s. It is the convergence of inner monologue and idleness. The fascination with the traditional drawing language is another notable feature of the 1960s. It is in a period of transition from the 1950s to the 1970s and the 1970s. There must exist certain exploratory factors, including the exploration of many issues such as society, the times and life. Such attempts at the spiritual level have some Commonalities. In the 1970s, the newcomers returned to the original state of life under the impact of consumerism. The native languages ​​of Chinese painting evolved in a reasonable and reasonable way. Compared with the 1960s, the newcomers were broader and had more abstract factors. The freedom to choose the state. Intimidating like non-material spontaneous, with a view to painting in the “image and concept of balance.”