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在今天的艺术创作中,对于艺术语言的多方面思考已构成当下整体文化形态的一个重要因素。这里包括了传统与现代、艺术家与社会现实、以及从民族民间美术的文化资源中汲取营养并创造出新的造型样式和艺术语言等问题。经过了20世纪的最后20年,无论是新潮美术对于西方现代主义近百年发展的全面引进和实验,还是新学院主义在传统语言的深化以及从多方位对中国文化传统的再认识,使今天的中国艺术呈现出更加丰富和多样化的局面。在对待语言问题的众多争论中,有两个主要论点:其一,主张对艺术语言的研究需要平心静气,不能太过浮燥,应努力把传统语言吃透(包括西方和东方),深入到位,才能真正产生中
In today’s artistic creation, the multifaceted thinking on the language of art has constituted an important factor in the current overall cultural formation. This includes issues such as tradition and modernity, artists and social reality, as well as drawing nutrition from the cultural resources of ethnic folk art and creating new styling and artistic language. After the last two decades of the 20th century, both the introduction and experiment of trendy fine art for the nearly 100 years of western modernism and the deepening of the new academicism in the traditional languages and the re-understanding of the Chinese cultural tradition from many directions make today’s Chinese art shows a richer and more diverse situation. There are two main arguments in the debate over the language issue: First, the assertion that the study of artistic language requires calmness, not excessive drying up, efforts to penetrate the traditional language (including the West and the East) Produced