从价值迷失到话语体系重构——兼论新时代中国画的表现形态  

From the Loss of Value to the Reconstruction of Discourse System:On the Manifestation of Chinese Painting in the New Era

作　　者：董水荣 DONG Shui-rong(Jiangsu Provincial Academy of Culture and Arts,Nanjing,Jiangsu 210005)

机构地区：[1]江苏省文化艺术研究院书画艺术研究所,江苏南京210005

出　　处：《艺术百家》2022年第6期104-110,共7页Hundred Schools In Arts

摘　　要：20世纪末的中国画已呈现多元、边缘和自由的状态,这实质上是其在价值观的纷争中产生了“分裂”与“迷失”。在这种状态中,中国画正在变得含糊、踌躇,且游离不定,需要对其进行追溯与反思。新时代背景下,中国画的表现形态有本土、现实与传统三个维度,本土体现在不以西方话语作为衡量标准,保持了中国画的独立性;现实体现在从乡土视角向城市视角的转变,尤其是数字化对当下生活的渗透;传统体现在根据时代精神和生活要求来观照传统,激活传统。从价值迷失到话语体系重构,期许为中国画的现代转型提供相应的参考和有益的启示。By the end of the 20th century, Chinese painting had shown a state of pluralism, edge and freedom. In essence, the values of Chinese painting have been “divided”or “split”. In this state, Chinese painting is becoming ambiguous, hesitant and contradictory, which needs to be traced and reflected. Under the background of the new era, there are three forms of expression of Chinese painting: native, realistic and traditional discourse system construction. The native one is independent of western discourses, while the second one undergo a local-to-urban perspective transition, especially the infiltration of digitalization into current life. The last one is intended to observes and activate tradition according to the time spirits and life demands. From the value loss to the reconstruction of discourse system, it is expected to provide corresponding reference and beneficial enlightenment for the modern transformation of Chinese painting.

关 键 词：新时代 中国画 价值迷失 话语体系 重构 表现形态 

分 类 号：J20[艺术—美术]