水墨在当代艺术语境中的多种可能性——以二十世纪80-90年代水墨实践及各理论争端为例-various possibilities of ink painting in contemporary artistic context - taking ink painting practice and theoretical disputes in 1980s - 1990s as an example.docxVIP

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水墨在当代艺术语境中的多种可能性——以二十世纪80-90年代水墨实践及各理论争端为例-various possibilities of ink painting in contemporary artistic context - taking ink painting practice and theoretical disputes in 1980s - 1990s as an example.docx

水墨在当代艺术语境中的多种可能性——以二十世纪80-90年代水墨实践及各理论争端为例-various possibilities of ink painting in contemporary artistic context - taking ink painting practice and theoretical disputes in 1980s - 1990s as an example

英文摘要predecessorandlearnfromforeign.Thedisputesontheform,media,conceptsandsignificanceofinkpaintingreachedaboilingpointinthe1990s.EspeciallytheWuGuanzhong’sarticle,whichisnamed“PenandInkTechniquesEqualZero”,causedgreatdebateamongartistsandtheorists.Weheardthesoundofconstructionandcriticismofvariousvaluepropositions,andsawthemovingsceneofvariousexperimentsoflanguageandform.Thus,thisthesisanalysisandreviewtheevolutionofinkpaintinginthelastcentury.Basedonthecombingoftheoryandcreation,wehopetoseethatinkpaintingcanhavemultiplepossibilitiesofexistence,newaestheticspaceandpositivedevelopmentdirection.Keyword:InkPainting,PenandInkTechniques,Language,PhysicalProperties,ContextofContemporaryArt目录中文摘要....................................................................................................................I英文摘要..................................................................................................................II第一章:绪论..........................................................................................................11.1课题目的与研究意义.........................................................................................11.280年代初期水墨创作综述................................................................................21.3本文研究方法.....................................................................................................31.4本文研究内容.....................................................................................................31.5本论文的创新点..................................................................................................3第二章:二十世纪80年代至21世纪初的水墨实践...............................52.1关于二十世纪80-90年代水墨展览的总体梳理.............................................52.2诗情的复活:新文人画及其语境.....................................................................62.2.1李津的生活水墨..................................................................................................72.2.2田黎明的诗情........................................................................................

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