摘要
相比于作为媒介的“水墨”,郝量近期的绘画实践也许更适合放在“中国画”的范畴内讨论。虽然,“中国画”这一定义本身所凸显的民族身份源自一种文化身份的焦虑。而无论是在当下的全球化视野中,还是追溯中国作为一个民族国家的现代性路径,这种焦虑实际上面对的又是同一个文化他者。
It is perhaps more appropriate to discuss Hao Liang＇s practice within the context of traditional Chinese painting than within ink discourse. Of course, the term ＂traditional Chinese painting＂ suggests a national identity that itself originates in cul- tural anxiety. This anxiety, in both the present globalized con- text and the history of China＇s modernist path as a nation-state, in ~act exists in relation to the same cultural other. If we ignore this cultural anxiety and return to the content of the paintings, we discover that in both so-called Western oil painting and Chinese ink there resides the painter＇s intrinsic anxiety,
出处
《艺术界》
2014年第3期196-197,共2页
