论文部分内容阅读
20世纪以来中国水墨艺术面临变革,80年代吴冠中和刘国松的影响为水墨实验的探索开启新的篇章,其后的“湖北中国画新作邀请展”集中显现了80年代水墨实验反叛传统的创作风貌。90年代,水墨实验转向了水墨语言层面的探索,探索路径从80年代借鉴西方现代艺术从而反叛传统转向对本土的回归,表达本土的经验、意识成为这时水墨实验的主题。表现型水墨、抽象水墨在90年代拥有强劲的发展势头,但到90年代末21世纪初,都市水墨异军突起,成为水墨实验的热点。进入21世纪,水墨实验如何进入中国当代艺术成为热门话题,众多水墨实验艺术家开始把水墨作为一种媒材进行观念艺术的探索,这就使得水墨实验走出仅仅作为一个画种的范畴,进入了一个全新的领域。
Since the 20th century, the art of Chinese ink painting is undergoing changes. In the 1980s, the influence of Wu Guanzhong and Liu Guosong opened a new chapter in the exploration of ink-and-ink experiments. Later “Invitation Exhibition of New Works of Chinese Painting in Hubei” concentrated on the creation of the rebellious tradition of ink and wash experiments in the 1980s Style. In the 1990s, the experiment of ink and wash turned to the exploration of ink-and-ink language. The exploration path borrowed from the Western modern art in the 1980s so that the rebellious tradition turned to the return to the native land and expressed the local experience. Consciousness became the theme of the ink-and-wash experiment at this time. In the 90s, the expressive ink and wash ink and the abstract ink and wash ink have a strong momentum of development. However, by the end of 90s and the beginning of the 21st century, urban ink and wash sprang up and became a hot spot in ink and wash experiments. Into the 21st century, how to enter the Chinese ink painting experiment into a hot topic of contemporary art, many ink experiment artists began to use ink as a media concept art exploration, which makes the ink experiment out of just as a category of painting, into a Brand new area.