【摘要】：中國(guó)藝術(shù)家與西方藝術(shù)家最大的不同就在于他們因處于迥異的"有效的傳承體系"之中而擁有了各自不同的生活意味。中西藝術(shù)家對(duì)"臨摹"和"傳承"等理念獨(dú)特的理解,不僅造就了中西各具特色的藝術(shù)家世界以及藝術(shù)傳統(tǒng),更使中西藝術(shù)史呈現(xiàn)出大相徑庭的哲學(xué)形態(tài)。然而,現(xiàn)代主義在中國(guó)和西方的發(fā)生卻有著極其相似的痕跡,它們無不想沖破這些因年深日久而根深蒂固的觀念方式的壁壘,以重新構(gòu)架我們同過往歷史的關(guān)系。而藝術(shù)家骨髓里的"現(xiàn)代性"則體現(xiàn)為不再膜拜傳統(tǒng),而是開始質(zhì)疑權(quán)威并進(jìn)行文化反省,當(dāng)然其中不乏許多似是而非的文化自譴,致使國(guó)家民族藝術(shù)在此進(jìn)程當(dāng)中,喪失了自身別具一格的魅力,犧牲了某些個(gè)性的特質(zhì)。
[Abstract]:The biggest difference between Chinese artists and Western artists is that they have different life meanings because they are in the different "effective inheritance system". Chinese and Western artists' unique understanding of the concepts of "copying" and "inheritance" not only brings up the unique artistic world and artistic tradition of China and the West, but also makes the history of Chinese and Western art show a very different philosophical form. However, modernism in China and the West has a very similar trace, they do not want to break through these old deep-rooted ideas of the way barriers to re-frame our relationship with the past history. The "modernity" in the artist's bone marrow is reflected in the fact that he no longer worships tradition, but begins to question authority and conduct cultural reflection. Of course, there are many specious cultural retribution, which leads to the national art in this process. The loss of their own unique charm, at the expense of certain personality characteristics.
【作者單位】： 哥倫比亞大學(xué)哲學(xué)系;東南大學(xué)藝術(shù)學(xué)院;《藝術(shù)百家》雜志社;
【分類號(hào)】：J0-03
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本文編號(hào)：2399316