希古与追思:探求当代新文人画的怀旧情结  

Contemporary New Literati Painting

作　　者：霍梦园 张鹏[1] HUO Meng-yuan;ZHANG Peng(Capital Normal University,Haidian Beijing 100089)

机构地区：[1]首都师范大学,北京海淀100089

出　　处：《吉林艺术学院学报》2024年第3期100-106,共7页Journal of Jilin University of Arts

摘　　要：20世纪80年代后期,基于新潮美术运动的开展引发对传统艺术形式的争议,推动了文人画改革的迫切需求,80年代中后期,新文人画群体应运而生并一时风靡于20世纪80、90年代,而新文人画群体自公开面世以来,受到众多艺术家、批评家褒贬不一的评论,其“消极避世”的艺术观点是其最具有争议性的问题,这一争议侧面反映了新文人画家群体所广泛存在的“怀旧情结”。结合20世纪80、90年代历史语境,对80年代后期到90年代末期的新文人画“怀旧情结”进行梳理归纳,总结出新文人画家对“乡土生活”以及古代“文人精神”两种主题的怀旧情结,探析其怀旧情感产生的主要原因,并对富有争议性的新文人画在当下的发展方向提出思考。In the late 1980s,the New Wave art movement sparked debates over traditional art forms,driving the urgent need for reform in literati painting.During this period,the new literati painting movement emerged and became highly popular throughout the 1980s and 1990s.Since its public debut,the new literati painting group has received mixed reviews from artists and critics alike,with its"passive escapism"being the most controversial aspect.This controversy indirectly highlights the widespread"nostalgic sentiment"among new literati painters.This paper examines the historical context of the 1980s and 1990s to systematically review and summarize the nostalgic sentiments in new literati painting from the late 1980s to the late 1990s.It identifies two main themes of nostalgia:"rural life"and the ancient"literati spirit."The study explores the primary reasons for these nostalgic feelings and reflects on the development direction of the controversial new literati painting in the present day.

关 键 词：新文人画 怀旧 乡土题材 文人精神 

分 类 号：J205[艺术—美术]