| 转换与过渡——20世纪80年代工笔人物画的审美意识嬗变 |
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| 引用本文： | 杨小玲,杨木林.转换与过渡——20世纪80年代工笔人物画的审美意识嬗变[J].暨南学报,2007,29(3):121-125. |
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| 作者姓名： | 杨小玲 杨木林 |
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| 作者单位： | 暨南大学艺术学院 广东广州510632(杨小玲)，湖南怀化学院 湖南怀化418008(杨木林) |
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| 摘 要： | 20世纪80年代的工笔人物画呈现出转换与过渡的双重性质。这种转换性体现在审美意识疏离了与政治的关系,创作上突破了单一的模式,作品的视点落驻在平凡和普通的事物之中,画家们以真实的情感和质朴的态度面对艺术创作。过渡性体现在审美意识出现多元化的倾向,工笔人物画家开始追求绘画的本体性,与此同时强化了画家本人的自我表现意识。
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| 关 键 词： | 20世纪80年代工笔人物画 审美意识 转换 过渡 |
| 文章编号： | 1000-5072(2007)03-0121-05 |
| 修稿时间： | 2006年4月4日 |
Conversion and Transition——Aesthetic taste of traditional Chinese realistic figure painting of 1980s |
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| YANG Xiao-ling,YANG Mu-lin.Conversion and Transition——Aesthetic taste of traditional Chinese realistic figure painting of 1980s[J].Journal of Jinan University,2007,29(3):121-125. |
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| Authors: | YANG Xiao-ling YANG Mu-lin |
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| Abstract: | From the view of awareness of aesthetic taste, this paper profoundly analyzes the tendency of aesthetic taste of 1980s, puts forward that conversion and transition are two characteristics of aesthetic taste during this period. The conversion is embodied in that this aesthetic taste is apart from the political issues; breaks through the monotonous style of painting, and concerns common issues; painters are emotionally and unpretentiously engaged in art creation. Transition is embodied in diversification of aesthetic tastes, pursuit of the intrinsic nature of painting and enhancement of self-expression of painters. |
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| Keywords: | awareness of aesthetic taste conversion transition |
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