论文部分内容阅读
若将关于中国画的林林总总看成一个生态系统,那么自上世纪80年代以来,随着中国经济的市场化和全球化的大潮,这个生态系统也见证并实践着一个层层开放的过程。80年代西方哲学、文化的译入,90年代国际收藏家的介入,从艺术实践和艺术接受两大方面深刻影响了中国画。随之,国内拍卖公司的崛起,更多资金、人力、智慧的涌入,这些变化裹挟着新的思潮、方法、媒材、展场、观看方式以及收藏标准、评价系统和价值标杆,给中国的艺术系统注入更多的能量,同时也打破了本来的相对平衡状态,带来不安和转型。
If we look at the total amount of Chinese painting as an ecosystem, since the 1980s, with the marketization of China’s economy and the tide of globalization, the ecosystem has also witnessed and practiced a process of opening up and opening up. The translation of western philosophy and culture in the 1980s and the intervention of international collectors in the 1990s have profoundly influenced Chinese painting from two aspects: artistic practice and artistic acceptance. In the meantime, the rise of domestic auction companies and the influx of more capital, manpower and intelligence have brought with them new trends of thought, methods, media, exhibition halls, viewing methods, collection standards, evaluation systems and value propositions to China Art system to inject more energy, but also broke the original relative balance, bringing restlessness and transformation.