水墨装置语境探析
发布时间：2019-02-15 01:32
【摘要】：二十世纪80年代后,改革、开放、自由的环境下,中西方各领域的交流与融合加强,相对单一的创作模式渐行渐远,艺术家开始探索新环境下的艺术创作道路。八五新潮后,一些青年艺术家对于传统知识的认识相对浅显,为了追求艺术现代化,在文化上采取了“反传统”与“接轨西方”的创作策略,显然还依旧存有五四以来的激进色彩,也带来了严重的“去中国化”问题。在西方现、当代艺术的影响下,中国当代艺术没能在本土传统文化中延伸与生长,只限于对西方知识的学习和消化上,渐渐丧失了自身语境,甚至一度还出现了对西方当代艺术的直接性模仿。八五新潮后,人们逐渐冷静下来。令人高兴的是,一些前卫艺术家已经开始注意到“中国性”构建的本土意义与价值,努力使中国当代艺术回到我们本土自身语境中,从而开启了“再中国化”的进程。他们分别从不同角度出发借鉴古老传统来表达对于当下的感受,把现代作为对于传统的拓展和补充,在传统中汲取有益的营养因子、去掉其中的不足和糟粕,强调把传统的联系和表达作品的当代属性融为一体,不只是在形式上,而是在韵味上达到或者回归传统之精神,以解决中国当代艺术与传统的断裂问题。在水墨画领域,一方面传统水墨对于线条、色彩、材料等形式语言的运用和处理已经达到了炉火纯青的地步,“四王”后更是陷入了陈陈相因的模式,虽然建国后苏联模式的引入、将山水和花鸟技法融入人物画等对于水墨画的发展产生了一定影响,然而今非昔比。西方文明的突飞猛进及艺术观念浸入,国内社会生活水平的进步和审美观念的提升,水墨画虽然没有到穷途末路的地步但无法顺应时代潮流已成为既定事实,也在一定程度上导致现代艺术发展的空间被挤压得只得向传统材料之外寻求突破。更尤为可贵的是,一些优秀的艺术家立足本土,结合中国的文化传统与现实情况,有效借鉴西方装置艺术,从而确立和发展了一种崭新的艺术传统。90年代后,装置艺术在国内趋向成熟,成为一种表达独特感受与艺术观念的媒介。艺术家们立足传统,坚守本土,对于装置艺术的特点研究不断深入,并将装置艺术引入到水墨中,激活了传统中暗含的现代因子,拓宽了水墨的表现语言,为水墨走向当代、走向世界提供了可能。
[Abstract]:After the 1980s, under the environment of reform, openness and freedom, the communication and integration between China and the West in various fields were strengthened, and the relatively single creation model gradually went away. The artists began to explore the road of artistic creation in the new environment. After the eighth Five-Year Plan, some young artists had a relatively simple understanding of traditional knowledge. In order to pursue art modernization, they adopted a creative strategy of "opposing tradition" and "connecting with the West" in culture. Obviously still has the radical color since the May 4th Movement, also has brought the serious "de- China" question. Under the influence of contemporary art in the West, Chinese contemporary art has not been able to extend and grow in the local traditional culture, but only in the study and digestion of Western knowledge, and gradually lost its own context. Even at one time there was a direct imitation of western contemporary art. People gradually calmed down after the eighth five-year trend. It is gratifying that some avant-garde artists have begun to pay attention to the local significance and value of the construction of "Chinese sex", and try to bring Chinese contemporary art back to our own local context, thus starting the process of "re-China". They use ancient traditions for reference from different angles to express their feelings for the present, take modern as an extension and supplement to tradition, draw beneficial nutrition factors from tradition, and remove the deficiencies and dross. In order to solve the problem of the breakage between Chinese contemporary art and traditional art, it is emphasized to combine the contemporary attributes of traditional art and expression, not only in form but also in lasting appeal, to achieve or return to the spirit of tradition. In the field of ink and wash painting, on the one hand, the use and treatment of formal languages such as lines, colors, materials and other forms of traditional ink painting have reached the point of perfection, and the "four kings" have fallen into Chen Xiangyin's mode after the "four kings." Although the introduction of the Soviet model after the founding of the people's Republic of China, the incorporation of landscape and flower and bird techniques into the figure painting had a certain impact on the development of ink painting, but this is not the case. With the rapid development of Western civilization and the immersion of artistic ideas, the progress of social life and the improvement of aesthetic concept, ink and wash painting has not reached the end of the road, but it has become a fait accompli that it cannot conform to the trend of the times. To some extent, the space for the development of modern art has to be squeezed out of traditional materials. What is more valuable is that some outstanding artists have established and developed a brand new art tradition after the 1990s by basing themselves on their native countries, combining the cultural traditions and the reality of China, and effectively drawing lessons from the installation art of the West. Installation art has matured in China and has become a medium for expressing unique feelings and artistic concepts. Artists base themselves on tradition, stick to their native land, study the characteristics of installation art deeply, and introduce installation art into ink painting, activate the modern factors implied in tradition, widen the expressive language of ink and wash, and move towards contemporary times. Going to the world offers the possibility.
【学位授予单位】：深圳大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
本文编号：2422822
[Abstract]:After the 1980s, under the environment of reform, openness and freedom, the communication and integration between China and the West in various fields were strengthened, and the relatively single creation model gradually went away. The artists began to explore the road of artistic creation in the new environment. After the eighth Five-Year Plan, some young artists had a relatively simple understanding of traditional knowledge. In order to pursue art modernization, they adopted a creative strategy of "opposing tradition" and "connecting with the West" in culture. Obviously still has the radical color since the May 4th Movement, also has brought the serious "de- China" question. Under the influence of contemporary art in the West, Chinese contemporary art has not been able to extend and grow in the local traditional culture, but only in the study and digestion of Western knowledge, and gradually lost its own context. Even at one time there was a direct imitation of western contemporary art. People gradually calmed down after the eighth five-year trend. It is gratifying that some avant-garde artists have begun to pay attention to the local significance and value of the construction of "Chinese sex", and try to bring Chinese contemporary art back to our own local context, thus starting the process of "re-China". They use ancient traditions for reference from different angles to express their feelings for the present, take modern as an extension and supplement to tradition, draw beneficial nutrition factors from tradition, and remove the deficiencies and dross. In order to solve the problem of the breakage between Chinese contemporary art and traditional art, it is emphasized to combine the contemporary attributes of traditional art and expression, not only in form but also in lasting appeal, to achieve or return to the spirit of tradition. In the field of ink and wash painting, on the one hand, the use and treatment of formal languages such as lines, colors, materials and other forms of traditional ink painting have reached the point of perfection, and the "four kings" have fallen into Chen Xiangyin's mode after the "four kings." Although the introduction of the Soviet model after the founding of the people's Republic of China, the incorporation of landscape and flower and bird techniques into the figure painting had a certain impact on the development of ink painting, but this is not the case. With the rapid development of Western civilization and the immersion of artistic ideas, the progress of social life and the improvement of aesthetic concept, ink and wash painting has not reached the end of the road, but it has become a fait accompli that it cannot conform to the trend of the times. To some extent, the space for the development of modern art has to be squeezed out of traditional materials. What is more valuable is that some outstanding artists have established and developed a brand new art tradition after the 1990s by basing themselves on their native countries, combining the cultural traditions and the reality of China, and effectively drawing lessons from the installation art of the West. Installation art has matured in China and has become a medium for expressing unique feelings and artistic concepts. Artists base themselves on tradition, stick to their native land, study the characteristics of installation art deeply, and introduce installation art into ink painting, activate the modern factors implied in tradition, widen the expressive language of ink and wash, and move towards contemporary times. Going to the world offers the possibility.
【学位授予单位】：深圳大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
【参考文献】
相关期刊论文 前3条
1 刘子建;实验水墨——中国当代艺术中的特殊个案[J];美术研究;2005年02期
2 鲁虹;;走向观念表达的水墨艺术[J];艺术广角;2000年04期
3 皮道坚;水墨性话语与当下文化语境[J];美苑;1995年01期
，本文编号：2422822
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