作为方法的历史苦难叙事

发布时间：2018-05-15 07:18

  本文选题：观念模式 + 战争题材　； 参考：《文艺争鸣》2017年09期

【摘要】：正最初得知王希奇教授创作了巨幅油画《1946》后的第一反应是,这确实是一个非常值得我们用当代艺术语汇来呈现的重大历史事件。因为,无论从那个角度看,"大遣返"这一事件本身所包含的历史信息都是非常丰富和复杂的。但转念一闪,又产生了一种犹疑,担忧这种战争题材的历史叙事被纳入到某种固定的话语框架系统之中。如果是这样,历史呈现的复杂丰富性就会被某种惯常的观念模式所稀释,势必导致历史呈现的苍白无力。看到这幅画,尤其是站在这幅二十
[Abstract]:The first reaction when I first learned that Professor Wang Xichi had created a huge oil painting < 1946 > was that it was indeed a great historical event worth presenting with contemporary artistic vocabulary. Because, from any point of view, the event itself contains very rich and complex historical information. But in a flash, there was a hesitation, worried that the historical narrative of the war would be incorporated into a fixed discourse framework. If this is the case, the complexity and richness of history will be diluted by a conventional pattern of ideas, which will inevitably lead to the whiteness of historical presentation. To see this painting, especially to stand here at twenty
【作者单位】： 东北大学艺术学院;
【分类号】：J205
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本文编号：1891517