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张春旸是当代中国不多的几位坚持以典型的现代表现主义方式进行创造的女性艺术家之一,她的创作谨守表现主义内在化精神救赎的美学遗产,始终将“个人世界”视为艺术表现唯一重要的主体,在公共图像泛滥的当代艺术中,这种选择重复着尼采式的不合时宜的思想悲剧。对表现主义这一“内在化”风格的喜好与张春旸敏感内敛的性格和悲天悯人的气质有关。早在上世纪80年代她就曾以一种民族性的表现主义画风获得了在中国画坛的地位,在
Zhang Chun-tao is one of the few female artists in contemporary China who insists on creating in the typical mode of modern expressionism. Her creations adhere to the aesthetic legacy of expressionist internalized spiritual salvation and always regard “personal world” as The only important subject of artistic expression, this choice repeats Nietzsche’s anachronistic tragedies of thought in the contemporary art in which the public image flooded. The preference for Expressionism’s “internalization” style is related to Zhang Chunxiao’s sensitive introverted character and compassionate compassion. As early as the 1980s, she had won the status of a Chinese painting society with a nationalistic expressionist style.