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中国画在上世纪80年代开始现代性探索,一方面是对于水墨媒介自身独立审美价值的试验与凸显,另一方面则是对中国画视觉形式个性的探讨与发掘。应该说,从那时开始中国画的现代性转换,大都从西方现代主义艺术理论与流派获得直接的参照与养分,许多画家试图把中国画的笔墨和这种水墨媒介特质与形式构成进行混搭式的重组与糅合。其中,也有些画家则从西方现代艺术理论反观中国乡土美术,并试图在乡土美术中寻求中国画现代性探索的路径。王辅民是其中之一。
Chinese painting started the exploration of modernity in the 1980s. On the one hand, it is a test and highlight of the independent aesthetic value of Chinese ink media. On the other hand, it explores and explores the individuality of the visual form of Chinese painting. It should be said that since then most of the modern transformations of Chinese painting have gained direct reference and nutrition from the theories and genres of Western modernism. Many painters try to mix and match the brushwork of Chinese painting with the formation and characteristics of this ink medium Mix with. Some of them, on the other hand, look at Chinese local art from the perspective of Western modern art and try to find a way to explore the modernity of Chinese painting in local art. Wang Fu-min is one of them.