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二十世纪六十年代初,张大千泼墨泼彩艺术形式的诞生受到国内外艺术界的高度关注,并对中国传统艺术的现代转型产生过重要影响。前之研究者对泼墨泼彩的诞生互有争议,主要有两种对立的观点:一种认为泼墨泼彩完全是对中国传统绘画中“泼墨”、“泼色”、“破墨”技法的继承和发扬,与西方艺术影响无关,另一种则主张泼墨泼彩的诞生是张大千融合中西文化艺术的一次汇演。实质上,泼墨泼彩的诞生及其嬗变是一个发展的动态过程,而这一过程的推进与流亡艺术家张大千所面临的文化冲突与身份焦虑有着密不可分的联系,是文化冲突与身份焦虑复调的结果。
In the early 1960s, the birth of Zhang Daqian’s splashed ink art form was highly concerned by the art circles at home and abroad and had an important influence on the modern transformation of Chinese traditional art. The former researchers are controversial about the birth of splashes of ink and wash ink. There are mainly two opposing views: one is that splashes of ink and wash ink are completely different from the traditional painting of “splashing ink”, “splashing color”, “ The inheritance and development of ”broken ink" techniques have nothing to do with the influence of western art, while the other advocates that Zhang Daqian’s integration of Chinese and Western culture and art is a show. In essence, the birth and transmutation of splashed ink painting is a dynamic process of development. The promotion of this process is inextricably linked with cultural conflicts and identity anxieties faced by the exiled artist Zhang Daqian. It is also a matter of cultural conflict and identity anxiety the result of.