本文選題：觀念模式 + 戰(zhàn)爭(zhēng)題材　； 參考：《文藝爭(zhēng)鳴》2017年09期

【摘要】：正最初得知王希奇教授創(chuàng)作了巨幅油畫《1946》后的第一反應(yīng)是,這確實(shí)是一個(gè)非常值得我們用當(dāng)代藝術(shù)語匯來呈現(xiàn)的重大歷史事件。因?yàn)?無論從那個(gè)角度看,"大遣返"這一事件本身所包含的歷史信息都是非常豐富和復(fù)雜的。但轉(zhuǎn)念一閃,又產(chǎn)生了一種猶疑,擔(dān)憂這種戰(zhàn)爭(zhēng)題材的歷史敘事被納入到某種固定的話語框架系統(tǒng)之中。如果是這樣,歷史呈現(xiàn)的復(fù)雜豐富性就會(huì)被某種慣常的觀念模式所稀釋,勢(shì)必導(dǎo)致歷史呈現(xiàn)的蒼白無力�？吹竭@幅畫,尤其是站在這幅二十
[Abstract]:The first reaction when I first learned that Professor Wang Xichi had created a huge oil painting < 1946 > was that it was indeed a great historical event worth presenting with contemporary artistic vocabulary. Because, from any point of view, the event itself contains very rich and complex historical information. But in a flash, there was a hesitation, worried that the historical narrative of the war would be incorporated into a fixed discourse framework. If this is the case, the complexity and richness of history will be diluted by a conventional pattern of ideas, which will inevitably lead to the whiteness of historical presentation. To see this painting, especially to stand here at twenty
【作者單位】： 東北大學(xué)藝術(shù)學(xué)院;
【分類號(hào)】：J205
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本文編號(hào)：1891517