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“童真”艺术在不同国度、不同艺术领域的历史纵向上都有其相关的折射和回顾,而就目前的发展趋势来看,“童真”艺术的表达是由深向浅的反向和过渡。一方面,艺术素材的模件层出不穷,提供给艺术家的诠释空间也越加广阔;其次,对原有画意载体的致敬,恰恰是建立在对新型媒体的变化和渗透之上。首先,就卡通一代在中国的发展——也是本文关注的一个“内”在个案——而言,从艺术评论和艺术概念上来看,几位主要的艺术史学者、艺术批评者杨小彦、鲁虹、马
“Innocence ” art has its related refraction and retrospection in the historical portrait in different countries and different art fields. According to the current development trend, the expression of “innocence” art is from deep to shallow To and transition. On the one hand, there are endless numbers of art material and more space for interpretation to be provided to artists. Secondly, the tribute to the original vector is precisely based on the change and infiltration of new media. First of all, with regard to the development of the cartoon generation in China - and this case is also concerned - in terms of artistic criticism and artistic conception, several major art historians, art critic Yang Xiaoyan, Lu Hong, MA