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提到乡土,人们多少会联想到那些带有原始、贫穷、落后标签的乡村形象,然而,乡土同时也蕴含着质朴、温情、厚重与希望的情绪,代表着生命与记忆。从表面上看,这个词语似乎很难和以都市文明为代表的当代联系到一起。然而,段正渠在他的作品中,却成功地实现了对于乡土符号的当代转换,使得那些看似原始的图像成为了当代绘画中的一种表现风格、路径。本文试图通过对段正渠作品的具体分析来讨论他对乡土符号的当代处理方式。段正渠最具个人风格的作品是那些表现北方独特地貌民风的作品,比如《大黄河》(2005年)、《大鱼(之四)》
When it comes to the local area, people often think of those rural images with primitive, poor and backward labels. However, the local area also contains the emotions of simplicity, warmth, thickness and hope, which represent life and memory. On the face of it, it seems unlikely that this term is associated with the contemporary represented by urban civilization. However, in his works, Duan Zhengqun has succeeded in realizing the contemporary transformation of native symbols, making the seemingly primitive images become a performance style and path in contemporary painting. This article attempts to discuss his current approach to the native symbols through a detailed analysis of Duan Zhengqun’s works. Duan Zhengqu’s most personal style works are those that show unique style of the North, such as “The Yellow River” (2005), “Big Fish (Ⅳ)”