自主的当代意识——版画十年回顾(2010—2019)  

Independent Modern Awareness:Review of Woodcut Paintings(2010-2019)

作　　者：高琪 Gao Qi

机构地区：[1]澳门科技大学人文艺术学院

出　　处：《美术》2021年第5期13-19,共7页Art Magazine

摘　　要：跨入21世纪之后,中国版画开始回归沉静和淡定。艺术家开始在版画本体语言和主体审美精神方面进行自觉探索和回归。特别是21世纪的第2个10年,随着媒材的多元性和数字化图像时代的到来,版画更是以一种开放的姿态融入时代文化语境之中,在整个当代中国艺术发展的大潮里,按照自身独特的艺术规律稳步前行。本文试通过对这10年版画展览概况、作品浅析和理论积累的梳理与回顾,揭示这10年版画生态的趋暖态势、中国版画当代性语言体系的自我建构,及其所体现出的民族主体精神和文化自觉。In the 21st Century,Chinese woodcut paintings experience a return to originality.The artists begin to explore the spiritual aspects of the ontology language and subject aesthetics of woodcut paintings.With the advent of diverse media and digital images in the 2010s,the woodcut paintings are integrated into the modern cultural contexts in an opener form,and develop in accordance with its own artistic rules.This paper reviews the exhibitions,works and theories on woodcut paintings over the past decade,revealing the rising trend of Chinese woodcut paintings,the independent construction of their modern expression system,and the national ethos and cultural self-consciousness reflected by the paintings.

关 键 词：21世纪 近10年 版画发展 本体回归 文化自觉 

分 类 号：J209[艺术—美术]