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从1984年第六届全国美展的独立画种到2014年第十二届全国美展的独立展区,中国漆画经历了转型进程中最为关键的三十年,发自自省、自立、自觉的艰难羽化过程从语言、观念与精神上初步确立了其在中国当代绘画中的身份。《论语·为政》中“三十而立”喻指对于自身与社会有明确的认识,对人生的目标及责任有清晰的认知,是一种自我人格独立的意识。以此来形容中国现代漆画也颇为合适。漆画的自省表现为漆画家主动发起的一次次自我诘难与追问。譬如“媒材论争”、“材质美与绘画性的探讨”、“传统漆工艺
From the independent painting of the Sixth National Art Exhibition in 1984 to the independent exhibition of the 12th National Art Exhibition in 2014, the Chinese lacquer art has undergone the most crucial thirty years in the process of transformation, with the emergence of self-reflection, self-reliance and self-consciousness The process initially establishes its identity in contemporary Chinese painting from the perspective of language, concept and spirit. ”Analects of Confucius in politics“ in ”Thirty and standing“ metaphor refers to a clear understanding of themselves and society, the goals and responsibilities of life have a clear understanding of self is an independent sense of personality. In order to describe the modern Chinese lacquer painting is also quite appropriate. The self-examination of lacquer painting is the self-proclamation and questioning voluntarily initiated by the lacquer painter. For example, ”media controversy “, ”material beauty and the exploration of painting “, ”traditional lacquer technology