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龙瑞是当代中国画坛中试图从现代性回归传统性,在当代文化语境里增强传统文化精神的一位代表。上世纪80年代中期,因中国画“穷途末路”论而展开的中国画大讨论,的确唤醒了一代中国画家对于传统中国画的变革意识。在这种变革中,不仅有一批画家转向实验水墨,把水墨媒材作为现代绘画的中国符号予以观念性的重组,而且,也有一批画家从中国画内部改变人们的日常视觉经验,将超现实时空的幻象、抽象形式的结构和潜意识的直觉融入中国画,从而把传统中国画那种农耕文明时代的视觉
Long Rui is a representative of contemporary Chinese painting circles trying to return to tradition from modernity and enhance the traditional culture in the context of contemporary culture. In the mid-1980s, the discussion on traditional Chinese painting due to the Chinese painting “The End of Time” indeed aroused the awareness of a generation of Chinese artists about the transformation of traditional Chinese painting. In this transformation, not only did a group of painters turn to experimental ink and wash, conceptualize the ink media as a Chinese symbol of modern painting, but also some artists changed their daily visual experience from the interior of Chinese painting and turned the surrealistic space-time Illusion, the structure of abstract form and subconscious intuition into Chinese painting, so that the traditional Chinese painting that farming civilization of the visual