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“现代书法”的提出是上个世纪80年代中期的产物,它是书法界对应西方现代主义思潮在中国的蔓延和“85新潮”美术所作出的及时反应。虽然过去的20年对于现代书法的概念与提法,一直存在着来自内外两个方面的争论,有认为它存在着语法结构上的欠缺,也有指责它在文化所指上的含糊,但今天看来这些也都似乎并不重要。我们从过去20年现代书法的演进过程,可以看到这种来自内外的双向努力,无论是新潮美术运动期间吴山专、谷文达等人从外部对文字的解构;还是“85现代书法展”将书画边缘化的倾向;以及90年代初,徐冰、王冬龄等人在海外全球化语境下,对现代书法超越汉字文化圈并在国际化环境下进行交流对话的可能性所做的努力;包括90年代中后期以来,许多其他领域的当代艺术家们以不同的方式从外部借用或解构了现代书法的形式语言等等。
“Modern Calligraphy ” is the product of the mid 80s of last century, it is the calligraphy industry in response to the spread of the trend of Western modernism in China and “85 new trend” art made by the timely response. Although the conception and formulation of modern calligraphy have existed for the past two decades, there have been disputes from both inside and outside. They think there is a lack of grammatical structure and they also blame it for cultural ambiguity. However, today It does not seem important either of these. From the evolution of modern calligraphy in the past 20 years, we can see this two-way effort both from home and abroad, whether it is the external deconstruction of the text by Wushan Zhu and Gu Wenda during the trendy art movement or whether the “85 Contemporary Calligraphy Exhibition” The marginalization of calligraphy and painting; and the efforts made by Xu Bing, Wang Dongling and others in the early 1990s at the possibility of modern calligraphy transcending the cultural circle of Chinese characters and conducting exchanges and dialogues under an international environment in the context of overseas globalization; Including contemporary artists in many other fields borrowing or deconstructing the formal language of modern calligraphy in different ways since the mid and late 1990s.