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从90年代初开始延边与其它省市的朝鲜族画家们陆续闯进北京。那些80年代兴起的“人文”“理想”“新潮”等艺术潮流逐渐淡化,新的费解的当代艺术之变化,让人既恍惚又惊喜。这种费解让我们得到更多当代艺术的熏陶,也许这就是朝鲜族画家在北京的生存环境。就执笔者而言,生存环境与艺术作品的关系形成他们作品的品味。因此,应该重视以下内容:1)从中心和边缘的辩证关系分析当代朝鲜族画家艺术作品;2)朝鲜族艺术家如何取得“自我认同”;3)如何理解主流文化与亚文化之间的密不可分的关系,这种理解模式直接影响到诠释艺术作品的方式;4)在当代语境之下,如何重构具有民族特色的艺术作品。
Since the early 1990s, Korean painters in Yanbian and other provinces and municipalities have successively broken into Beijing. Those art trends such as “Humanities”, “Idealism” and “Trendy” emerging from the 1980s have gradually weakened. The change in contemporary art which is inexplicable makes people feel both trance and surprise. This kind of understanding has given us more influence on contemporary art, and perhaps this is the living environment of Korean painters in Beijing. In terms of the author, the relationship between the living environment and the work of art forms the taste of their work. Therefore, we should pay attention to the following contents: 1) analyze the contemporary Korean artist’s works of art from the dialectical relationship between the center and the periphery; 2) how Korean artists acquire “self-identity”; 3) how to understand the relationship between mainstream culture and subculture This mode of understanding has a direct influence on the way in which works of art are interpreted; 4) How to reconstruct works of art with national characteristics under the contemporary context.