| 审美现代性视阈下的“四川画派” |
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| 引用本文： | 鲜益.审美现代性视阈下的“四川画派”[J].四川教育学院学报,2010,26(3):1-3. |
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| 作者姓名： | 鲜益 |
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| 作者单位： | 四川教育学院,中文系,成都,611130 |
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| 摘 要： | 审美现代性是一个历史的范畴，不同文化背景下的艺术实践在面对现代性话语冲击时都带着自身的文化身影。中国审美现代性的历史限定性决定着其不同于欧美审美现代性的实质，“四川画派”在20世纪80年代的出现当为典型，它凸现出中国当代艺术在现代化进程中的特殊性。“四川画派”在理念和形式上所体现出的特色，也正是中国艺术现代化的独特性所在。
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| 关 键 词： | 审美现代性 四川画派 艺术主体 自觉性 |
Reserching Sichuan School of Painting from the Perspective of Aesthetic Modernity |
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| XIAN Yi.Reserching Sichuan School of Painting from the Perspective of Aesthetic Modernity[J].Journal of Sichuan College of Education,2010,26(3):1-3. |
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| Authors: | XIAN Yi |
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| Institution: | XIAN Yi(Department of Chinese,Sichuan College of Education,Chengdu 611130,China) |
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| Abstract: | Aesthetic modernity is a historical category.Artistic practices under different cultural context hold their own culture figures in the face of modern discourse shocks.The historical restriction of Chinese aesthetic modernity determines its substance of aesthetic modernity different from that of Europe and the United States.The emergence of Sichuan School of Painting in the 1980s is typical which highlights the particularity of Chinese contemporary art in the process of modernization.The characteristics of S... |
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| Keywords: | aesthetic modernity Sichuan school of painting arts subjects consciousness |
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