论文部分内容阅读
从90年代到今天,艺术媒介对版画的关注似乎失去了往日的热情,而是把焦点更多地集中在油画、国画等其他领域。回顾1976—1985这十年,众多版画专业刊物纷纷出版与发行,版画创作通过媒介有效地介入到中国普通大众与知识分子的生活之中。此时期优秀版画作品,几乎都采用了一种特殊运作的表征途径、体裁、价值观和审美形式,以致在与大众沟通的媒介环境里产生了占支配地位的创作范式。这种支配性范式不会受到政治目的鲜明的“版画工具论”批评的指责,其语言的纯化刚刚开始,由
From the 1990s to today, the art media’s attention to printmaking seems to have lost its passion in the past. Instead, it has focused more on oil painting, traditional Chinese painting and other fields. Review 1976-1985 this decade, many print professional journals have published and distribution, printmaking through the media effectively involved in the lives of ordinary Chinese and intellectuals. Almost all of the fine printmaking works of this period adopted a specially functioning representation, genre, value, and aesthetic form that led to a dominant paradigm of creation in a media environment that communicates with the general public. This dominant paradigm will not be accused of criticizing “print tools” with a sharp political purpose. The purification of its language has just begun and the