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在“后殖民”语境下,培养了对外来艺术及本土艺术的特定审美心理和“语言”理解;其中,盲目和自信相伴,这就是当今画坛的“当下”状态。 艺术家的创造没有止境,“当下”越来越多的艺术家通过“语言”的锤炼去实现“意义”的开拓;这样,意义的基本沟通便有赖于与人类生命形式和体验形式类同的“话语”基本结构,而“意义”的开拓和美的呈现则更依赖于语言和意义对立统一的永恒张力。 艺术创造的历史曾在揭示语言和意义的关系上表现出独特的眼光,且由于艺术家对世界的直观领会、结构思考、解读表达都在时间和空间层面上受制于历史、现实、文化和语言制约,故“当下”绘画创作中的“语言”和意义呈现着动态的双向运动,其中融合着不同意义和语言层次,不同的运动方向和运动形式。 本期发表的作品多是从上述角度选定的,虽然水平不一、层次有别,却都体现出重建绘画“言”、“意”之间活泼地生命流动的努力。
In the context of “post-colonialism,” we cultivate a specific aesthetic mentality and “language” understanding of foreign art and local art. Among them, blindness and self-confidence mean that this is the “current” state of the contemporary art scene. There is no limit to the creation of the artist. More and more artists nowadays realize the development of “meaning” through “language.” In this way, the basic communication of meaning relies on the same discourse as human life forms and experience forms “The basic structure, while the development of” meaning “and the presentation of beauty are more dependent on the eternal tension of the unity of opposites of language and meaning. The history of art creation has revealed a unique perspective on the relationship between language and meaning. Since the artist’s intuitive understanding of the world, structural thinking and interpretation are both constrained by history, reality, culture and language at the time and space level Therefore, the ”language“ and meaning of ”contemporary painting“ present a dynamic two-way movement in which different meanings and levels of language, different directions of movement and forms of movement are integrated. Most of the works published in this period were selected from the above perspectives. Though they are different in level and different in hierarchy, they all reflect the effort to rejuvenate the lively flow of life between the words ”Yan“ and ”Yi" in the painting.