论文部分内容阅读
面对一个事物时,我们往往以一种惯性的思维去解读,然后尝试在这个惯性思维的基础上决定相应的问题,解决问题的关键或会被忽视。中国绘画已处在与西方当代文化的接口上,中国艺术生态系统积极寻求通往当代的途径。当代语境中,现代的观念注入使绘画形式改变,但同时表现出自我纠结。中国画“这一词汇,仿佛给我们一种无形的心理暗示,它似乎无形中与一种民族情感、民族文化挂钩,并且把它当做传统文化的守护,形成了限制它必须是一种规范。本文作为笔者的一点思考。
When faced with a thing, we often interpret it with a kind of inertia thinking, and then try to decide the corresponding problem on the basis of this inertial thinking. The key to solving the problem can be neglected. Chinese painting is already at the interface with Western contemporary culture, and the Chinese artistic ecosystem actively seeks ways to the present. In the contemporary context, the modern concept of infusing changes the form of painting, but at the same time it shows self-tangle. Chinese painting ”seems to give us an intangible psychological suggestion. It seems to be virtually linked to a national emotion and national culture, and it is regarded as the guardian of traditional culture. It has to be a norm to limit it. This article as the author’s thinking.