中国当代新古典主义油画中的传统文化图像研究

中国改革开放以来新古典主义绘画形成一道独特的艺术现象涌动在中国当代艺坛上,其唯美、高雅的艺术格调给人美的熏陶,艺术家在研究西方油画的技法精髓的同时,不约而同地挪用传统文化,中西艺术的碰撞,建构起属于中国当代油画中呈现的图像意义和审美趣味。

四川传统图像文化元素在视觉传达设计中的运用研究

改革开放以来,中国经济的快速发展也带动着文化的发展与科技的进步。我们知道,当前社会处于一个视觉文化的时代,图像艺术以其无可替代的形象化特征,成为视觉传达的关键,图像文化也因此称霸。显然,视觉传达设计是以文化为基础的,它更多更广泛的依赖传统图像文化元素的运用。对于不同地域的传统图像文化,它的发生与发展都体现不同的文化背景。将中国传统图像文化元素通过现代设计理念运用于视觉传达设计领域中,对于提高传统图像文化在视觉传达设计中的实用性具有一定意义。四川作为多民族聚居地,其传统图像文化历史悠久、内涵深厚、形式丰富、具有鲜明的民族地方特色。四川传统图像文化元素在视觉传达设计中的运用有着独特魅力和价值[1]。本文通过举例简单介绍和分析了四川传统图像文化元素在视觉传达设计中的运用研究。

Knowledge Innovation of Great Tradition of Chinese Literary Anthropology

It is very innovative significance that Chinese Literary Anthropology invents the Great Tradition in the new century and puts forward series of theoretical propositions and academic points based on it. The new Great Tradition transforms the opposition between the Great and Little Tradition of American anthropology, and makes the new concepts gain the legitimacy of the cultural values transferred from the old terms. It dates the second coded significance of the written culture from the material narrative and the image narrative of the oral tradition, and highlights the generative and primary of the symbolic significance. It also questions the authenticity of the written representation, endows the truth and credibility to the material and image representation, and manifests the imaginative and expression of the early human culture. Though its theoretical innovation inverts the binary opposition structure, and it wants to jump out of knowledge limits of dual structure such as structure and destruction, objective and subjective, material and spiritual.