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出现于九十年代的中国女性艺术,一个最显著的特征就是从男性话语中分离出来,转向对自我价值的探寻。而女性话语的建立也正是从这种自我探寻中开始。从独特的女性视角和高度的个人经验开始,从对生命的敏锐感悟和多重的情感体验开始,用她们特有的直觉和生存本能,去体悟自然生命的、情感的抑或充满人生意味的事实。而走向这种自我探寻之路的较早尝试即为1990年举办的《女画家的世界》展。八位刚出校门的女画家以崭新的女性视角与男性画家以及前辈女画家拉开了距离,以鲜明的精神取向展示出她们的探索成果。刘丽萍正是其中的一位,她参展的作品是油画《地友》系列。 第一次见到刘丽萍的画,也是在这个画展上。自此,她的那些以“地面”为主题的画便一直留存在我的记忆之中。印象的深刻并非来自场面的惊心动魄,也非个自视觉的强度刺激。她画的仅仅是一些不为人所留意的地面:泥泞的雨地、皑皑的雪地、被开垦过的荒地抑或
One of the most notable features of Chinese female art emerged in the 1990s was the separation of male discourse and the search for self-worth. The establishment of female discourse also started from this self-exploration. Starting from a unique female perspective and a high degree of personal experience, she begins with a keen perception of life and a multitude of emotional experiences, using her unique intuition and instinct to understand the natural life, emotional or life-giving fact. An earlier attempt to pursue this path of self-exploration was the “World of Female Painters”, held in 1990. Eight female artists who just left their school doors opened a new perspective with male painters and senior female painters, demonstrating their explorations with a clear spiritual orientation. Liu Liping is one of them, her works are oil paintings “to Friends” series. The first time I saw Liu Liping’s paintings was also on this exhibition. Since then, her paintings on the ground have remained in my memory. Impression is not from the scene of the soul-stirring, nor a self-intensity stimulation of the visual. She painted only unnoticed ground: muddy rain, snow-capped mountains, reclaimed wasteland or