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作为当代艺术家,周韶华的艺术是从80年代中《大河寻源》组画开始的,这组气势撼人的巨构现在看来不仅极其贴切地构画了那个时代的文化气氛,而且以造型的方式展开了周韶华艺术的思想轨迹和文化品格;这里既有中国现代文化启蒙时期“宏大叙述”方式的反思激情,也有革命现实主义和浪漫主义相结合的英雄主义气质;既有对新时期艺术自由和创新思想的感性诉求,也有对民族文化和历史的理性观照。这组作品本身所蕴含的深刻矛盾也正是当时中国文化界、思想界普遍探求的课题,即在打破旧式意识形态模式的思想解放运动之后如何建立新的文化价值模式。而对周韶华个人而言,这种矛盾又成为我们理解他在中国当代艺术界身份和位置的基础:他既是新潮美术和水墨画革命的积极倡导者,又是民族传统文化价值的理性捍卫者;他既推崇艺术的多元化和宽容价值,又相信“民族精神”、“时代精神”这类古典主义的理论神话;他既是艺术的表现论者,又是一位尊循现实主义创作原则的实践者。 周韶华以他的创作、思想和身份对80年代以来的中国画坛乃至中国当代艺术发展产生过不可忽略的影响,现在的难题却是我们的批评如何
As a contemporary artist, the art of Zhou Shaohua began with a group painting of “The Great River Sourcing” in the 1980s. This impressive group of giant structures now appears to be not only very aptly framed the cultural atmosphere of that era, The way to start Zhou Shaohua’s ideological trajectory and cultural character; here both the passion of reflection of the “grand narrative” mode during the Enlightenment of China’s modern culture and the heroism of the combination of revolutionary realism and romanticism; The emotional appeal of freedom and innovative thinking, but also the rational reflection of the national culture and history. The profound contradictions contained in this group of works are also the topics that the Chinese cultural circles and ideological circles were generally seeking at that time. That is, how to establish a new cultural value model after breaking the ideological liberation movement of the old ideological model. For Zhou Shaohua personally, this contradiction has become the basis for our understanding of his identity and position in contemporary Chinese art circles. He is both an active advocate of trendy fine art and ink painting revolution, and a rational defender of national traditional and cultural values. He respected both the pluralism and tolerance of art, and he also believed in the classical myths of “national spirit” and “spirit of the times.” He was both an expressive artist in art and a practice honoring the creative principle of realism By. Zhou Shaohua, with his creation, thought and identity, had an irreversible impact on the development of Chinese painting since the 1980s and even the development of contemporary Chinese art. The crux of the problem now is how we criticize