當代藝術演進 首重中國底韻（3）

當代藝術演進 首重中國底韻（3）

後文革時期—傷痕風  鄉土情百家爭鳴

POST CHINESE CULTURAL REVOLUTION – SCAR ART AND FOLK ART

文化大革命帶來的是大時代的哀傷，也成為了「傷痕美術」萌芽的絕佳養份，反映當時貧窮農村、遭逢巨變的情感，與毛澤東主席的圖騰，成為後文革期間，藝術家普遍的創作形式。但除了一股腦控訴歷史的「傷痕風」浪潮外，人們在反求諸己的同時，也衍生出對於自然純樸歌頌、無限讚美的「鄉土情」。舉凡張曉剛「暴雨將至」、羅中立「父親」都是強調農民純樸的可愛與歌頌自然之美，北京圓明園與四川美院均是當下藝術重要的發源地。

The Cultural Revolution brought great sorrow to China. It also gave way to the beginning of "Scar Art", which mainly reflected poverty and melancholy in rural regions. Chairman Mao also became a popular figure for artists during this post-Cultural Revolution period. Besides echoing out their anguish towards past events representative of the "Scar Wave", another stream that exalted natural beauty and native peasantry thrived. Examples of such folk art works are Zhang Xiao Gang's "STORM IS COMING" and Luo Zhong Li's "FATHER". Beijing Yuanmingyuan and Sichuan Fine Arts Institute were birth places for such arts. 

「就像買紀念品與海報」在中國符號語言強烈，初期畫價仍低的情況下，為滿足外國人於家中裝飾「中國」的需求，這批充滿文革符號的傷痕美術迅速的打入國際市場，受到外國人一致的追捧與收藏，與西方民眾好評。以張曉剛的血緣：大家庭系列，其人物的空洞眼神在暗示著當時中國家庭和文化的集體特徵，王廣義的《大批判》系列則是以一種對日用品與烏托邦不真實的批判為代表性作品。

At that time there was a big demand for Chinese Scar Art on the international market. Chinese art with its low price and strong symbolism made them similar to souvenirs or posters for sale. Westerners enjoyed collecting them for home decorations. In Zhang Xiao Gang's "Kinship series": "Big Family", the hollow eyes of its characters suggested the collective identity of the Chinese family and culture. Wang Guang Yi's "Great Criticism" series is a representative work criticizing the unreality of commodity and Utopia.

除了文革概念外，無論是從艾未未的古舊木製門到王懷慶的明式家具，徐冰結合印刷術的天書到蔡國強的火藥，劉小東對民情、現實的描繪到王沂東的柔情新娘，均是帶有著濃濃中國風、富含中土「底韻」之作品，再再顯示中國概念，將是未來決定兩岸三地藝術家能否迅速國際化，具決定性的因子。

Besides themes on the Cultural Revolution, in whatever sort of Chinese artwork (Ai Weiwei's "ANICENT WOODEN DOOR", Wang Huaiqing's "MING DYNASTY FURNITURE", Xu Bing's "HEAVENLY SCRIPT COMBINATION PRINTING" Cai Guo Qiang's “GUNPOWDER ARTWORK”, Liu Xiaodong's description on civil life and reality, and Wang Yi Dong's "TENDER BRIDE"), one can easily spot its attachment and originality to the Chinese culture. These reveal that the "Chinese Concept" is a decisive factor in the promotion of Taiwanese and Chinese artists to the global market in the future.