论文部分内容阅读
此次“见素抱朴”展不仅呈现了朱友舟的书法,而且成为了一场与书法有关的空间欢宴。这个“欢宴”在江苏有特定意义,对南艺美术学院的展览空间而言也是如此,更重要的是,展览的成功对朱友舟个人信心是一次激励。书法在中国当下艺术的大格局里,一直扮演着一个高雅性与大众性同在的角色;在公共艺术的传播中,书法由于其体量的关系,一直还只能是个点缀。曾有人做过将书法带入当代的尝试,上世纪“八五新潮”时期的谷文达,就将汉字单独挑出,拆解,水晕墨化后重新组合;徐冰的《析世鉴》有汉字书法的外表而无汉字表意功能;其
The “Show Suphan Park ” show not only presented the calligraphy of Zhu Youzhou, but also became a space-related feast of calligraphy. This “feast ” has a special meaning in Jiangsu, as far as the exhibition space of Nan Yi Academy of Fine Arts is concerned. More importantly, the success of the exhibition is an incentive to Zhu Youzhou’s personal confidence. Calligraphy has always played the role of elegance and mass in the general framework of contemporary art in China. In the spread of public art, calligraphy has always been an ornament because of its mass. Someone once tried to bring calligraphy into the contemporary era. In the last century, Gu Wenda in the period of “Eighth Five-year New Waves” singled out and disassembled the Chinese characters alone and reorganized the water. "Have the appearance of Chinese calligraphy and no Chinese ideographic function;