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中国画在经历了上世纪八九十年代的各种思潮洗礼后,开始从激进躁动的思潮云涌中走出来,逐渐向自立、自主求发展的方向回归。因时代性变革而起于中国画阵营的各种观念与手法、语言与精神的求索也从含混不清、错综复杂中走出来,变得明确和清晰起来。虽然中国画在现代性转型中付出了一统天下的单一化价值判断的代价,但却换来了有利于绘画创作的多元并存局面。当代中国画似乎在这“多元并存”的绘画格局中恢复了某种自信和冷静,开始寻找以笔墨为切入点的本体表现手法和文化精神内涵,旨
After the baptism of various thoughts of the 1980s and the 1990s, Chinese painting began to emerge from the radical and restless trend of thoughts and gradually returned to the direction of self-reliance and self-seeking for development. Due to the changes of the times, all kinds of concepts and techniques that originated from the Chinese painting camp, the search for language and spirit, have also come out of ambiguity and intricacy and become clear and clear. Although Chinese painting has paid the price of unitary value judgments all over the world in the transformation of modernity, it has also brought about the coexistence of pluralism in favor of painting creation. Contemporary Chinese painting seems to have resumed some self-confidence and calmness in this “multiple coexistence” painting pattern, started to search for the noumenon expression method and cultural spirit connotation with the aim of using ink and brush as the starting point