【摘要】：二十世紀(jì)80年代后,改革、開(kāi)放、自由的環(huán)境下,中西方各領(lǐng)域的交流與融合加強(qiáng),相對(duì)單一的創(chuàng)作模式漸行漸遠(yuǎn),藝術(shù)家開(kāi)始探索新環(huán)境下的藝術(shù)創(chuàng)作道路。八五新潮后,一些青年藝術(shù)家對(duì)于傳統(tǒng)知識(shí)的認(rèn)識(shí)相對(duì)淺顯,為了追求藝術(shù)現(xiàn)代化,在文化上采取了“反傳統(tǒng)”與“接軌西方”的創(chuàng)作策略,顯然還依舊存有五四以來(lái)的激進(jìn)色彩,也帶來(lái)了嚴(yán)重的“去中國(guó)化”問(wèn)題。在西方現(xiàn)、當(dāng)代藝術(shù)的影響下,中國(guó)當(dāng)代藝術(shù)沒(méi)能在本土傳統(tǒng)文化中延伸與生長(zhǎng),只限于對(duì)西方知識(shí)的學(xué)習(xí)和消化上,漸漸喪失了自身語(yǔ)境,甚至一度還出現(xiàn)了對(duì)西方當(dāng)代藝術(shù)的直接性模仿。八五新潮后,人們逐漸冷靜下來(lái)。令人高興的是,一些前衛(wèi)藝術(shù)家已經(jīng)開(kāi)始注意到“中國(guó)性”構(gòu)建的本土意義與價(jià)值,努力使中國(guó)當(dāng)代藝術(shù)回到我們本土自身語(yǔ)境中,從而開(kāi)啟了“再中國(guó)化”的進(jìn)程。他們分別從不同角度出發(fā)借鑒古老傳統(tǒng)來(lái)表達(dá)對(duì)于當(dāng)下的感受,把現(xiàn)代作為對(duì)于傳統(tǒng)的拓展和補(bǔ)充,在傳統(tǒng)中汲取有益的營(yíng)養(yǎng)因子、去掉其中的不足和糟粕,強(qiáng)調(diào)把傳統(tǒng)的聯(lián)系和表達(dá)作品的當(dāng)代屬性融為一體,不只是在形式上,而是在韻味上達(dá)到或者回歸傳統(tǒng)之精神,以解決中國(guó)當(dāng)代藝術(shù)與傳統(tǒng)的斷裂問(wèn)題。在水墨畫(huà)領(lǐng)域,一方面?zhèn)鹘y(tǒng)水墨對(duì)于線條、色彩、材料等形式語(yǔ)言的運(yùn)用和處理已經(jīng)達(dá)到了爐火純青的地步,“四王”后更是陷入了陳陳相因的模式,雖然建國(guó)后蘇聯(lián)模式的引入、將山水和花鳥(niǎo)技法融入人物畫(huà)等對(duì)于水墨畫(huà)的發(fā)展產(chǎn)生了一定影響,然而今非昔比。西方文明的突飛猛進(jìn)及藝術(shù)觀念浸入,國(guó)內(nèi)社會(huì)生活水平的進(jìn)步和審美觀念的提升,水墨畫(huà)雖然沒(méi)有到窮途末路的地步但無(wú)法順應(yīng)時(shí)代潮流已成為既定事實(shí),也在一定程度上導(dǎo)致現(xiàn)代藝術(shù)發(fā)展的空間被擠壓得只得向傳統(tǒng)材料之外尋求突破。更尤為可貴的是,一些優(yōu)秀的藝術(shù)家立足本土,結(jié)合中國(guó)的文化傳統(tǒng)與現(xiàn)實(shí)情況,有效借鑒西方裝置藝術(shù),從而確立和發(fā)展了一種嶄新的藝術(shù)傳統(tǒng)。90年代后,裝置藝術(shù)在國(guó)內(nèi)趨向成熟,成為一種表達(dá)獨(dú)特感受與藝術(shù)觀念的媒介。藝術(shù)家們立足傳統(tǒng),堅(jiān)守本土,對(duì)于裝置藝術(shù)的特點(diǎn)研究不斷深入,并將裝置藝術(shù)引入到水墨中,激活了傳統(tǒng)中暗含的現(xiàn)代因子,拓寬了水墨的表現(xiàn)語(yǔ)言,為水墨走向當(dāng)代、走向世界提供了可能。
[Abstract]:After the 1980s, under the environment of reform, openness and freedom, the communication and integration between China and the West in various fields were strengthened, and the relatively single creation model gradually went away. The artists began to explore the road of artistic creation in the new environment. After the eighth Five-Year Plan, some young artists had a relatively simple understanding of traditional knowledge. In order to pursue art modernization, they adopted a creative strategy of "opposing tradition" and "connecting with the West" in culture. Obviously still has the radical color since the May 4th Movement, also has brought the serious "de- China" question. Under the influence of contemporary art in the West, Chinese contemporary art has not been able to extend and grow in the local traditional culture, but only in the study and digestion of Western knowledge, and gradually lost its own context. Even at one time there was a direct imitation of western contemporary art. People gradually calmed down after the eighth five-year trend. It is gratifying that some avant-garde artists have begun to pay attention to the local significance and value of the construction of "Chinese sex", and try to bring Chinese contemporary art back to our own local context, thus starting the process of "re-China". They use ancient traditions for reference from different angles to express their feelings for the present, take modern as an extension and supplement to tradition, draw beneficial nutrition factors from tradition, and remove the deficiencies and dross. In order to solve the problem of the breakage between Chinese contemporary art and traditional art, it is emphasized to combine the contemporary attributes of traditional art and expression, not only in form but also in lasting appeal, to achieve or return to the spirit of tradition. In the field of ink and wash painting, on the one hand, the use and treatment of formal languages such as lines, colors, materials and other forms of traditional ink painting have reached the point of perfection, and the "four kings" have fallen into Chen Xiangyin's mode after the "four kings." Although the introduction of the Soviet model after the founding of the people's Republic of China, the incorporation of landscape and flower and bird techniques into the figure painting had a certain impact on the development of ink painting, but this is not the case. With the rapid development of Western civilization and the immersion of artistic ideas, the progress of social life and the improvement of aesthetic concept, ink and wash painting has not reached the end of the road, but it has become a fait accompli that it cannot conform to the trend of the times. To some extent, the space for the development of modern art has to be squeezed out of traditional materials. What is more valuable is that some outstanding artists have established and developed a brand new art tradition after the 1990s by basing themselves on their native countries, combining the cultural traditions and the reality of China, and effectively drawing lessons from the installation art of the West. Installation art has matured in China and has become a medium for expressing unique feelings and artistic concepts. Artists base themselves on tradition, stick to their native land, study the characteristics of installation art deeply, and introduce installation art into ink painting, activate the modern factors implied in tradition, widen the expressive language of ink and wash, and move towards contemporary times. Going to the world offers the possibility.
【學(xué)位授予單位】：深圳大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J212

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本文編號(hào)：2422822