First, postmodernism and contemporary painting
Postmodernism is a word frequently used by theologians and sociologists since 1970s. It first appeared in the 1920s and 1930s, expressing "it is necessary to realize that thoughts and actions need to go beyond the scope of the Enlightenment". Postmodernism holds that there are infinite multi-level interpretation possibilities for a given text, representation and symbol. In this way, literal meaning and traditional interpretation will give way to the author's intention and the reader's reflection.
Two. Outline of the History of China's Ancient Art Criticism
Introduction to the history of China's ancient art criticism: In the atmosphere of pluralistic new theories and pluralistic life, contemporary art criticism has a tendency to focus on creating "sensational effect" and ignore its own theoretical construction. This is manifested in a high degree of attention to operational skills and a low degree of attention to the nature, characteristics, classification, methods, styles and styles of criticism, especially the lack of in-depth and systematic research on the characteristics, methods and cultural values of China's art criticism.
Three. Comparison between Chinese and Western Art Criticism
Comparison between Chinese and Western art: Chinese and Western art criticism is a general discussion about the comparison between Chinese and Western art criticism. In view of the similarities and differences between Chinese and western art criticism, this paper compares it from six aspects: history, evolution characteristics, methods, systems, standards and functions. This paper not only points out their similarities, but also discusses their fundamental differences, and on this basis, summarizes the respective characteristics of Chinese and western art criticism.
Four, "Badashanren Calligraphy"
The earliest chronicles left by Badashan people are the inscriptions and calligraphy in Zhuan Xu Sketchbook written at the age of 34 in the 16th year of Shunzhi (1659). Sketch Biography includes three calligraphy plates and seven inscriptions (three of which are written on the same plate). There are five regular scripts in these ten paragraphs, one official script, one cursive script and three running scripts. The styles of the three kinds of running scripts are different, which shows the calligraphy learning and creation of Badashan people in their early years.
Five, "Sixty Years of New China Calligraphy"
Sixty Years of New China Calligraphy is the first history of calligraphy in China with new China calligraphy as the research object. It is the first time to systematically sort out and summarize the development course, basic trend, characteristics of the times and historical achievements of new China calligraphy in the past 60 years. Combined with the historical and cultural process of New China, this paper makes a general comment on the calligraphy creation, calligraphy research, calligraphy education, calligraphy club activities, calligraphy exchange and dissemination, major calligraphy exhibitions, major styles and schools, and major achievements of representative calligraphers in New China in the past 60 years, which fully shows the features of calligraphy in New China.
Brief introduction of calligrapher Li
Li Yi, male, 1957 was born in Qufu, Shandong Province, with a doctorate in fine arts. Engaged in art research, periodical editing and postgraduate teaching in China Academy of Fine Arts for many years. He has published many books and held two solo exhibitions of calligraphy in China Art Museum. At present, he is a researcher, doctoral supervisor and editor-in-chief of Art Watch of China Academy of Art. ..
He is also a member of China Artists Association, China Calligraphers Association, China Fine Arts Award, China Calligraphy Lanting Award, Art Committee of Painting and Calligraphy Institute of Central Museum of Literature and History, and National Art Foundation.