论文部分内容阅读
上世纪80年代中期,因中国画“穷途末路”论而展开的中国画大讨论,唤醒了一代中国画家对于传统中国画的变革意识。在这种变革中,有一批画家转向实验水墨,把水墨媒材作为现代绘画的中国符号予以观念性的重组;还有一批画家走出国门,通过对西方文化的了解,反观中国画的发展。画家周俊就是在这个背景下奔赴欧洲,成为那个年代追寻文化梦想的践行者之一。在欧洲生活了20多年,用他的活来说:“他是因艺术走出国门,这其中有苦恼也有快乐,有失意也有成功。”但无论怎样,他自始至终都是以一个中国文化人的心境和思考方式,对待艺术和理解西方文化的……
In the mid-1980s, the grand discussion on Chinese painting due to the Chinese painting “The End of Time” aroused the awareness of a generation of Chinese artists about the transformation of traditional Chinese painting. In this transformation, a group of painters turned to experimental ink and wash ink and ink media as a conceptual symbol of modern Chinese painting. Some artists went abroad to understand the development of Chinese painting through their understanding of western culture. Zhou Jun, an artist, went to Europe against this background and became one of those practitioners who pursued cultural dreams in that era. Living in Europe for more than 20 years, with his life: “He is out of the country because of art, which distressed happy, frustrated and successful. ” But no matter what, he is from beginning to end are a Chinese culture The mood and way of thinking, treat the arts and understand the Western culture ...