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Renjian's works represent a spiritual tendency, a search in the abstract and the concretized, for relationship between the cultural origins. It is no longer an improvement purely on the means or the pattern, but rather, a peaceful intervention into the contemporary cultural context. Although it still adopts traditional cultural symbols, an improvement in the spiritual realm is achieved by delivering a visual effect that is both open and tranquil in his art works.

任剑的作品体现的是一种精神倾向,在抽象与具象间寻找文化渊源的关系,而不再是一个纯粹形式上或者样式上的完善,而以很平静的方式介入了当代文化的语境,虽然借助了传统的文化符号,却提升到了一个精神的目的,作品的精神性是靠作品本身的空旷和静宁的视觉效果来感悟。

Early in 1995, in his "Desire" series where red and blue lines come in strong contrast with each other, Ma Yiping instinctively used his personal experience to drop a hint of the transcendence of life. From 1996 to 2001, his "Images" series established the development direction of his art, owing to its artistic expression_r_r of overloaded psychological priori images. In his works before or after 2003, dream-like symbolic images presented perplexed feeling of human beings about the universe and the physical world. In his "images" series in 2006, uncertain images stood on black cube-shaped objects and ambiguous edges pointed to various uncertain directions with the accompaniment of silver light and shadow. At this point, the intuitive perception of the essence of nature made his artistic style gradually take shape. In his later "fetish" series, in which he gradually became mature in spiritual and symbolic expression_r_rs, Ma Yiping fully grasped the eternal sense of the spiritual world.

在早期,1995年的《欲望》马一平用对比强烈的红色、蓝色层层涂盖、本能地运用自身感受以暗示的手法表达对生命的超越。1996-2001年以物象为主题的系列作品对超载心理先验物象的表达方式确定了他艺术作品的发展方向,2003年前后的作品中,梦一般的暗示性物体程现了生命本体对宇宙物理世界的茫然,在2006年的《物象》系列中,黑色的方体上不确定的物状、模糊的边缘在泛着银色光影的衬托下,泛生着各种不确定的指向感,此时对本质直观的感知性的把握使作品艺术风格基本形成,到后来的《神物》已经充分地把握了精神世界里的永恒感,画面中所能达到的精神性和神密暗示意义的表现手法已近成熟。

Therefore, in this thesis the first part combes the female prose's development in the 20th century, analyses its breakthrough and inherit to the former female prose ;The second part mostly investigates the female prose's abundant experiences personally,the imperfection experiences personally, mystery experiences personally and the experiences personally to the spirit, which comes from tne angle of the " experiences personally", by the help of the western philosophic standpoint and combinative concrete text The third part regards five female writers-Zhang liqin, Zhao Mei , Hu Xiaomeng, Xiao Min and Ma Li-as the represents, saying with the viewpoints of expression and language, emphasizing to analyze the female prose's sentiment language and their respective language styles .

本论文第一部分首先梳理了二十世纪女性散文的发展脉络,分析了新时期女性散文对以往女性散文的突破与继承;第二部分从&体验&的角度,借助西方生命哲学的观点,结合具体的文本,重点考察新时期女性散文的丰富性体验、缺失性体验、神秘性体验和精神性体验;第三部分以张立勤、赵玫、胡晓梦、筱敏、马莉五位作家的作品为代表,从语言和言说的角度,着重分析了新时期女性散文的抒情话语,以及她们各异其趣的语言风格。

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