从谷文达入手探究实验水墨如何进入当代语境

发布时间：2018-03-21 22:08

本文选题：实验水墨　切入点：谷文达　出处：《云南艺术学院》2014年硕士论文　论文类型：学位论文

【摘要】：在20世纪80年代、90年代，围绕中国当代实验水墨的两个问题展开了激烈的讨论：当代性问题和民族性问题，，而水墨画界，有两派意见相持一下，一派主张“坚守传统”另一派者认为“传统已死”主张“全盘西化”，85年的星星之火让这两种意见的交锋更为激烈。坚持古代水墨传统的艺术家普遍认为传统的笔墨趣味是中国画最后一条底线，“笔墨”是经过千年历史演变而来最能体现中国古人审美智慧的精髓，如果没有笔墨，传统的精华也就不复存在了，两者的争论无法平息，导致当代水墨发展缓慢，为了进一步探究实验水墨走向何方，哪里才是最佳方向，笔者就从实验水墨的代表人物谷文达入手，深入浅出，结合风格分析，和社会分析，分析其创作经历，再结合国际艺术形式，为当代实验水墨在市场经济的高速发展环境中找到一条可行之道。有的批评家不无讽刺的说，中国的当代艺术史是植根于后殖民主义语境上的，而谷文达作为一个移民的水墨艺术家，批评家对他的分析也多从双重文化身份，以及当代艺术的后殖民语境入手，而“水墨”是谷文达进行了持续创作、并且创作最深入的艺术门类，可以说是谷文达的创作理论背景和美术史背景的核心所在。笔者旨在通过水墨艺术切入，研究谷文达的创作经历，进而为大多数在迷茫状态的水墨新人指明道路。认真分析谷文达的作品，都可以看出，长期的水墨积累给他的作品带来的一种文化积淀。可以说生处西方世界的谷文达也在时刻关注东方艺术的发展，而且他体内积淀的水墨艺术底蕴也在促进他朝更远的方向发展。本文通过从他最初反传统的主张到向传统“回归”，两者对比分析如何才能使实验水墨更好融入当代语境。
[Abstract]:In 1980s, 90s, around two questions China contemporary experimental ink: a discussion of contemporary issues and ethnic issues, and the ink painting circles, there are two views about the stalemate, the advocates of "stick to the traditional" another school of thought that "traditional dead" advocate "wholesale westernization", sparks of fire 85 years let the two opinions clash more intense. Adheres to the ancient traditional ink artists generally believed that traditional ink painting is fun China last line, "ink" is the result of thousands of years of history evolved can best embody the essence of aesthetic wisdom Chinese ancient people, if there is no ink, the essence of the tradition is not there, the argument can not calm, leading to the slow development of contemporary ink painting, in order to further explore the experimental ink to where, where is the best direction, the author figures from experimental ink generation Valley With the combination of simple, Venda, style analysis, and social analysis, analysis of the creative experience, combined with the international art form for contemporary experimental ink to find a feasible way in the rapid development of the environment of market economy.
Some critics said without irony, contemporary art history China is rooted in the postcolonial context, and Gu Wenda as an immigrant ink artists, critics of his analysis from the dual cultural identity, with the post colonial context and contemporary art, and the "ink" is guwenda ongoing creation and the most thorough, creative arts, can be said to be the core of guwenda creation theory background and art history background. The author aims to cut ink art, study guwenda creative experience, and in the most confused state of ink new way. A careful analysis of guwenda works can be seen, long the ink accumulation of a kind of cultural accumulation brings to his work. We can say that the students at Gu Wenda in the western world always pays attention to the development of Oriental Art, and his body accumulation The art of ink and wash is also promoting his further development. This paper analyzes and compares the two from his original anti traditional proposition to the traditional "return", so as to make the experimental ink and wash better integrate into the contemporary context.

【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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