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在中国现代艺术中,西方文化和中国传统文化并存,由于这两种文化发展和延续的方式不同,因此,中国现代艺术并没有从精神的、文化的、历史的广泛需要出发来建构自身,而是从价值取向和历史使命出发,形成了含糊的、非流派性的发展趋势,同时艺术家向个人化、多元化的方向发展。对个人存在状态和社会发展程度进行重新审视,确定自己所处的艺术环境与生存方式,这是中国现代艺术发展的当务之急。在当代艺术发展中我们也能注意到某些严肃的思考和精神上的努力,这些思考和努力在为数不多的作品中端倪清晰可见。郭利洛的《花开花落》等就是一个很好的例证。 无论将郭利洛的《花开花落》、《有红格子的风景》、《手套》等作品归纳到哪个流派中都
In modern Chinese art, Western culture and Chinese traditional culture coexist. Because of the different ways in which the two cultures develop and extend, Chinese modern art does not construct itself from the spiritual, cultural and historical needs. It embarks from the value orientation and the historical mission, forming a vague, non-gendered development trend. At the same time, the artist develops in a personalized and diversified direction. The reexamination of the status of individual existence and the degree of social development and the determination of the artistic environment and mode of existence in which they live are the immediate priorities of the development of modern Chinese art. In the development of contemporary art we can also notice some serious thinking and spiritual efforts that are clearly visible in a few works. Guo Liluo’s “blossom” is a good example. Regardless of which genre is included in Guo Liluo’s “Blooming Flowers”, “The Scenery with Red Plaid,” and “Gloves”