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中国当代版画在世纪之交的转变颇具意味.从大众的文化用具向小众的精神载体、从艺术的社会属性向材技的私密空间、从情节的倾向描述向视觉的深层阅读等不同角度与层面的转变,展示了版画在历史进程中新的演化,以及对自身价值观新的认识,这一转变的结果是对版画创作目的的分裂一坚守大众的立场,认同服务的目的,是社会版画的立场与目的,强调个性的主张,注重材技的品质则是学院版画的主张与品质。当然,还有不乏试图走出第三条路的实践者,他们更看重的是表现的结果而不仅仅是主张,如以格子划分造型为语言特征的罗贵荣。在艺术创造活动中,语言的表述如果带有方言口音,显然比标准普遍话更具个性魁力,有着更丰富的审美含义。罗贵荣并未像大多数人那样据守一种口音,去与普通话叫板,相反,他是据守住普通话而与某种口音接近,在不可能的现实中滋养可能的价值,他确信是最具张力的个性正是读懂了共性后才死而后生的。
The transformation of Chinese contemporary prints at the turn of the century is quite meaningful.From different perspectives such as the spiritual carriers of the public to the minority, the social properties of the arts, the private spaces of the material skills, the description of the plot from the tendency to the deep reading of the visual The change of level shows the new evolution of printmaking in historical process and the new understanding of its own values. The result of this shift is to adhere to the general public’s position on the splitting of the purpose of printmaking. To recognize the purpose of service is that of social prints Position and purpose, emphasizing individuality advocate, pay attention to the quality of technology is the academic printmaking advocate and quality. Of course, there are many practitioners who are trying to get out of the third path. What they value is more than the result of the performance, not just the proposition. For example, Luo Guirong, characterized by the lattice as the linguistic feature. In artistic creation activities, language expressions with dialect accent, obviously more personality and charm than the standard general, have a richer aesthetic meaning. Luo Guirong, unlike most people, does not stick to one accent and speaks Mandarin. Instead, he keeps his mandarin in touch with some kind of accent and nourishes the possible value in an impossible reality. He is convinced that it is the most intense Personality is just after reading the commonalities and then die.