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在“全球化”的时代条件下,西方的现代、后现代主义艺术思潮与中国本土艺术思想的碰撞日益激烈,既反映在油画、雕塑等艺术类型上,也反映在中国画这样的传统艺术类型上。如何在绘画中应对外来文化挑战的态势,把握中外文化激荡的机遇,如何在传统的基本上走出中国画当代发展的新路,成为很多艺术家探索的道路。纵观姚鸣京自20世纪90年代以来的山水画作品,可以看到他致力于东方与西方、传统与现代、自然与理想的融合,在中国画的精神内涵与形式语言上都独辟蹊径,创造了一种可以称为“梦境山水”的视觉图式。这种图式既有别于传统的隐逸山水,也有别于当代的新文人画和实验水墨,构成了姚鸣京自己的艺术面貌。
Under the condition of “globalization”, the collision between the modern western and postmodernist artistic trends and the local Chinese artistic ideas is becoming increasingly fierce. Both are reflected in the types of art such as oil painting and sculpture, as well as in traditional art types such as Chinese painting . How to deal with the challenge of foreign cultures in painting, how to grasp the opportunities of cultural agitation both in China and abroad, and how to get rid of the new road of contemporary development of Chinese painting on the basis of tradition has become the road that many artists explore. Looking at the landscape works of Yao Mingjing since the 1990s, we can see that his devotion to the fusion of the East and the West, tradition and modernity, nature and idealism is unique in the spiritual connotation and formal language of Chinese painting, creating a Known as the “dream landscape” visual schema. This schema is different from the traditional seclusion landscape, but also different from the contemporary literati painting and experimental ink, forming Yao Mingjing own art.