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图像时代的到来使人的生活充斥着大量的图像,每个人都成为了图像的携带者和传播者,这也使“架上绘画”受到了图像的冲击和渗透;另外,21世纪信息化的快速发展使人们进入了碎片化的微观时代。在这个时代中,人们不再纠结宏观的社会命题,也不再崇尚不同阶层的相互交流。在面对社会时,每个人的心境都发生了变化——从具象到抽象、从理性到感性、从想象到表现、从集体到个人等,个人的微观视域逐渐成为社会表现的主旋律。与此同时,城市化的发展把人们局限在楼宇的方寸之间,这种“方寸”感并没有拉近人与人之间的距离,反而使个体的生存呈现出“疏离”感。这种“疏离”感也使个人的存在感提升,成为
The advent of the image age has filled the lives of people with a large number of images, each of whom has become a carrier and disseminator of images. This has also caused the images to be affected and infiltrated by paintings. In addition, information in the 21st century The rapid development of chemistry has brought people into a fragmented microcosmic era. In this era, people are no longer entangling macro social propositions, nor advocating the interaction of different social strata. In the face of society, everyone’s mood has changed - from figurative to abstract, from rational to sensual, from imagination to performance, from the collective to individuals, personal microcosmic horizon has gradually become the main theme of social performance. At the same time, the development of urbanization has confined people to the dimensions of buildings. This kind of “sense of place” does not narrow the distance between people, but makes the individual’s existence show “alienation” sense. This sense of “alienation” also enhances the sense of personal existence and becomes