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艺术的本质是美,一个艺术家一生感悟美、表现美,并不断地探索、创新,实现自我超越,是何等幸福、何等幸运的事。王建山是在20世纪80年代“贵州美术现象”震动中国美术界之际浮出水面的。他的创作,在经历了80年代末地域文化与现代艺术观念融合的尝试期、经历了世纪之交以苗族女性为创作母题、营造优雅静穆意境的唯美期之后,近年来,开始运用抽象的表现性手法,表达对生存状态的关切和精神意识的审视。纵观王建山的创作脉络,艺术样式无论怎样递进演变,始终离不开本土的“根”与“魂”。正如他所说:“……艺术样式只是外壳,最为重要的是其内核,艺术形式的变化,就像昼夜交替、春夏秋冬自然到来一样,会自然演变完善。
The essence of art is beauty, an artist’s life perception of beauty, the performance of beauty, and continue to explore and innovate, to achieve self-transcendence, is so happy, how fortunate thing. Wang Jianshan surfaced in the 1980s when the ”Guizhou Art Phenomenon“ shaken the Chinese art scene. After experiencing the trial period of the fusion of regional culture and modern art concept in the late 1980s, his creations, after experiencing the theme of creating Miao women at the turn of the century and creating an elegant and quiet mood, have started to use abstract Expressive tactics to express concerns about the state of existence and to look at the mind. Throughout Wang Jianshan’s creative context, no matter how progressive evolution of art style, always can not do without the local ”root “ and ”soul “. As he said: ”... the art style is just the outer shell. The most important thing is its kernel and the changes of its art form. Just like the natural change of day and night, spring, summer, autumn and winter will naturally evolve.