摘要
文章以20世纪80年代以来,在中国艺术界出现的西藏题材绘画作品,以及相关文献的研究为对象,分析了其中表现的粗犷审美创作意识,探讨了这种特定美学范式的产生和发展以及概念化审美对西藏题材创作的影响。
After having studied the paintings with Tibet as theme since the 1980s and the related literature, it is found that the paintings illustrating a ＂rough＂ aesthetic consciousness. This article discusses the specific aesthet- ic model＇ s formation and development as well as the impact of conceptualized aesthetic on the creation of paintings with Tibet as theme.
