“写意油画”的当代路径——从本体语言向主体空间追问  

A Contemporary Path to Xieyi Oil Painting-From the Ontology Language to the Subjective Inquiry

作　　者：郑工 Zheng Gong

机构地区：[1]广州美术学院美术学研究中心 [2]中国艺术研究院

出　　处：《美术观察》2024年第12期17-21,共5页Art Observation

摘　　要：本文以连续8年的“中国写意油画学派作品年展”为引子,并以19世纪陆续举办8届的法国印象派画展为参照,分析中国“写意油画”在当下发展的三个问题:第一,以“写生”证明主体“在场”的状态;第二,以“我们”实现群体“共在”的可能;第三,以“间性”强化主体“互动”的空间。三者无非说明在“写意性”问题上,当代油画家们已经从改革开放新时期以来对形式本体语言的执念中走出,以自身的实践经验不断拓展自我的精神世界,在知与行的关系上,在物/我之间,在有/无之间,在形/意之间,在观/念之间,建立新秩序。This paper takes the eight consecutive years of the"Cultural Inheritance Exhibition of China Xieyi Oil Painting"as the introduction,and takes the French Impressionist Exhibition,which was held eight times in the 19th century,as the reference,to analyze the three problems of the development of Chinese Xieyi oil painting in the present time:Firstly,to prove the subject's"presence"by"sketching";Secondly,to realize the group's"co-presence"by"us";Thirdly,to strengthen the space of"interaction"of the subject by"intersubjectivity".The three only show that on the issue of Xieyi,contemporary oil painters have come out from the obsession with formal ontological language since the new period of reform and opening-up,and have continuously expanded their spiritual world with their own practical experience,and established a new order in the relationship between knowledge and action,between object and self,between existence andnothingness,between form and intention,and between viewand thought.

关 键 词：写意油画 本体语言 主体观念 主体间性 存在空间 

分 类 号：J213[艺术—美术]