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近一、二年,对80年代中前期中国美术注重理性沉思和灵魂生命重铸“大而无当”的指责多了起来。享乐主义和面目不同的“后现代主义”绘画各领风骚,引起传媒和大众不小的兴趣。带有虚假色彩的“古典风”、“后现代主义”和文化掮客在藐视价值这一点上殊途同归,并携手走向世界。中国油画的这种崛起,似乎头一次使中国当代美术之得到国际定位成为可能。 油画在中国的发展中,一直深藏着一种矛盾。明末清初,当这一绘画样式刚随西方传教士传入国门,其逼真肖似对象的能力和严谨的透视法则便引起文人画家的惊骇,但他们却不为所动。审美观念和情感上的隔膜,使士大夫们对这种技艺作出“不入画品”的评判。
In the past year and two years, there has been more accusation of the “undignifiedness” of focusing on rational contemplation and soul life of Chinese art in the mid-1980s. The hegemony and the postmodernist paintings with different appearances lead the public and arouse great interest from the mass media and the general public. With the false colors of “classical style”, “postmodernism” and cultural bachelors despise the value of this point on different roads, go hand in hand to the world. This rise of Chinese oil painting seems to be the first time that it is possible to get the international positioning of Chinese contemporary art. Oil painting has always been a contradiction in the development of China. In the late Ming and early Qing dynasty, when this painting style just came into the country with Western missionaries, its realistic portrayal of objects and rigorous perspectives aroused the horror of the literati painters, but they were unmoved. Aesthetic concept and emotional membrane, so that doctors and scholars of this kind of art to make a “non-painting” of the judge.