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1948年,格林伯格在《架上画的危机》一文中提出了“复调绘画”的概念,即一种满幅的、统一的、去中心化的,并不断重复同样或接近的元素的绘画形式。但同时他又认为,正是“复调”导致了架上画的危机,从而使其可能沦为装饰或样式。基于这一理论背景,本文以李华生的“水墨格子”为例,反思中国当代抽象绘画及“复调绘画”本身。尽管表面上“水墨格子”还处在“复调绘画”的范畴,但事实上它已将作为对象的作品从主客二元结构中解放了出来,其中所蕴含的时间性、劳作性及精神性亦更加切近中国传统绘画的创作理路、观看方式及其“内向超越性”。因此,这不仅是对“复调绘画”及形式主义的继承和再造,也是对观念艺术及视觉文化的反思和超越。
In 1948, Greenberg put forward the concept of “polyphony” in his article “The Crash on the Frame”, a concept that is full, uniform, decentralized and repeats the same or close Elements of painting form. At the same time, however, he also believes that it is the “polyphony” that has led to the framing of the crisis so that it may be reduced to decoration or style. Based on this theoretical background, this article takes Li Huasheng’s Ink Plaid as an example to reflect on Chinese contemporary abstract painting and polygon painting itself. Although on the surface “Ink Plaid” is still in the category of “polyphony”, in fact it has liberated the work as the object from the dual structure of subject and object, which contains the timeliness and labor Sexual and spirituality is also closer to the way of creation, way of viewing and “inward transcendence” of Chinese traditional painting. Therefore, this is not only the inheritance and reconstruction of polyphony and formalism, but also the reflection and surpassing of conceptual art and visual culture.