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20世纪70年代可以说是中国艺术发展最为关键的转折期,从仿佛瞬间席卷全国的“伤痕美术”到现在,具有社会责任感的青年艺术家直面现实,以探索的精神,怀着人道主义热情和人文拯救的信念,对现实社会进行不加任何掩饰的描绘与叙述。他们持续而永恒地追求真理,坚信艺术只有表现真实才能有所发展。而事实上,艺术也只有表现真实的情感才有理由存在并无限地发展下去。郎小杞作为青年艺术家也深刻地认识到了这一点。她用自己独特的绘画语言,不断寻找适合自己描绘的题材。艺术不是教条地复制客观世界,“再现”早已不是绘画的关键。艺术的存在就是要表现人的丰富的内心世界以及各种情感。这种表现不是来自人为的想象和臆断,而是来自对现实的真实感受。
1970s can be regarded as the most crucial turning point in the development of Chinese art. From “Scar Art” that instantly swept across the country, young artists with a sense of social responsibility face reality, with the spirit of exploration and humanitarian passion And humane belief in saving, the reality of society without any disguise of the description and narrative. They pursue the truth continuously and eternally, believing that only by showing true performance can art develop. In fact, art has only reason to exist and develop indefinitely. Lang Xiaoqi as a young artist is also profoundly aware of this. She uses her own unique drawing language to constantly look for themes that fit her own story. Art does not copy the objective world in a dogmatic way. “Reproduction” is no longer the key to painting. The existence of art is to show people’s rich inner world and all kinds of emotions. This performance does not come from artificial imagination and assumption, but from the real feelings of reality.