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中国画从来只画“活的”不画“死的”。所以,“花鸟画”从不称“静物画”,中国画家也不会像西画家那样去画静止中的死鱼、死鸟或杯子、盘子、瓶子。但张卫偏偏用中国画去画西洋的静物画,去画那些静置的反叛文人画情调的瓶瓶罐罐。这种用中国画媒材去表现异质文化观念的转换,让我们分明感受到中国画正在经受的一个变异过程,这个过程所揭示的是他这一代文化承担者的精神出发点,以及由此而引发的不同价值取向。生于1971年的张卫,无论是在生活方式上还是艺术观念上都属于新生代。他们生活在一个开放的年代,他们有更多的机会了解、认识西方文化,甚至直接接触西方文化,异质文化的参照不能不激
Chinese painting has always painted only “living” not painting “dead.” Therefore, “flower and bird painting” is never called “still life” and Chinese painters are not going to draw still fish, dead birds or cups, plates and bottles like the Western painters do. However, Zhang Wei has chosen to use Chinese painting to draw the Western still life painting, paintings to those still standing rebellious literati tune bottle jar. This transformation of using Chinese painting media to represent heterogeneous cultural concepts makes us clearly aware of a process of variation that Chinese painting is going through. What this process reveals is the spiritual starting point of his generation of cultural undertakings and the consequent Different values. Born in 1971, Zhang Wei belongs to the Cenozoic both in terms of lifestyle and artistic conception. They live in an open era, they have more opportunities to understand and understand Western culture, and even direct contact with Western culture. The reference to heterogeneous culture can not but excite