艺术的抽象主义

It is an abstract style of art which came out as a reaction against the subjective elements of Abstract expressionism.

同时极简主义也是抽象风格艺术，但却是对主观构成元素的抽象表现主义不满的一种反映。

Epochs of Cubism, Abstractionism and Pop Art have all been those in the post-realistic era .

艺术上的立体主义、抽象主义与通俗艺术都是后现实主义时代的三个艺术时期。

This thesis attempts to discuss Andy Warhol in following aspects: Why did he turn from abstractionist art into pop art; and what were the factors that influenced his painting style?

中文摘要本论文试图以几个层面来探讨，安迪。沃荷为何以普普艺术为出发，从抽象主义的艺术转入普普艺术，是什麼影响及改变了他的绘画风格？

Farther, this chapter tries to hold a dialogue between the native and the West on a new level of Sino-western mutual understanding, thus, the chapter, with the basic idea of"comparison equals dialogue", launches a discussion focusing on four features: the widely-ranged introduction from anti-alienation spirit, modern humanitarianism and individualism in Western modern art to the anti-Confucianism in Chinese cultural tradition; the seek for the essence of Western modern abstractionist art in Chinese traditional intellectual art atmosphere; the decoding of Western modern non-rationalism based on native cultural tradition; and the discussion on relations between"The Harmony Between Heaven and Man"and Western postmodernism.

于是本章基于"比较即对话"的观念，围绕四个问题展开了讨论：从西方现代艺术的反异化精神、现代人道主义、个人主义说到中国的"反儒文化"传统；在中国传统文人艺术境界中寻找西方现代抽象艺术的真谛；对西方现代非理性主义进行基于本土文化传统的解读；探讨天人合一精神与西方后现代主义的联系。

"Chinese Maximalism" analyzes the characteristics of these "Chinese""maximalists" through the different angles of contemporary background, Chinese traditional thought and its differences from Western abstract art.

中国极多主义》从当代艺术的背景、中国传统的思维方式和与西方抽象艺术的差异等不同角度分析了这些中国"抽象艺术"的"极多主义"特点。

Chinese Maximalism" takes "maximalism" as a basic foundational methodology of "abstract art," and uses it to develop a survey analysis of Chinese "abstraction in art.

中国极多主义》将"极多主义"作为中国当代"抽象艺术"的一种基本方法论，并以此展开了对中国式的"抽象艺术"的审视分析。

The author points out, Chinese "Maximalist" art is not a personal expression, and neither is it an "abstract" representation of the exterior world, but is an inseparable part of these artists' artistic philosophy and life philosophy.

作者指出，中国"极多主义"艺术既不是一种自我表现，也不是一种对外部世界的"抽象"再现，而是这些艺术家的艺术哲学和生活哲学的不可分的一部分。

However, during New Trend '85, Gu Wenda differentiated himself from most artists of Chinese Painting of the time and showed his contemporary consciousness by experimenting on traditional ink painting materials and techniques. This brought out a new possibility for the contemporaneity of Chinese Painting. Since then, unremitting efforts have been made to "modernize" Chinese Painting through traditional abstract elements like ink-wash and Calligraphy. These efforts streamed into a new trend called "modern ink"(or "abstract ink","experimental ink") in late 1980's, though seemed not widely acknowledged for its resemblance to Abstract Expressionism of 1960's and 1970's American art. What is interesting is that while some artists are endeavoring to "westernize" their art, a new trend grouped as "Neo-literati Painting" appears with very traditional form and mood. This can be explained as a group of people's resistance to the reformation of traditional culture as well as their nostalgia to traditional ideals. However, this school tends to be artificial for the absence of the particular context, and the expression with traditional brushwork is also regionally limited. Of all the efforts of reformation, Chinese Painting that accordingly adopts the tradition heads the list because of the cultural identification of the big number of population and greater market as a result of the economic growth of China. Meanwhile, the immense conservative inertia of traditional Chinese culture can also be detected.

在"现代艺术"风起云涌的"85新潮"中，谷文达以传统水墨的材料和方法表达出不同于当时大多数中国画艺术家们这种文化心态和文化认知的现代意识，为中国画的现代性提供了一种方案；以水墨、还有选择中国传统书法的抽象因素等可能来进行现代性探索，一直是中国画连绵的努力，在80年代后期汇聚成"现代水墨"（又或曰"抽象水墨"、"实验水墨"），是中国画的又一流向，但是不是没有脱离60、70年代美国的"抽象主义"意义，反而还有了拾人牙慧之嫌，所以始终难以获得更大的认可和成功；很有趣的是，与此"西化"流向同时的，还有以非常传统的方式出现的"新文人画"潮流，或许可以把这看着是部分中国文化人在中国以西方为参照的新文化背景下对之的抵制，对传统理想的怀念和诉求，但由于已经失去了其语境和环境，"新文人画"显得娇情和造作，而且这种以非常地域化的传统笔墨语言来表现的方式也失去了更为普遍化的可能；反而是延续传统一脉的国画，由于有巨大的人数基础的本土文化的认同，在中国经济发展后有了更大的市场，所以还是蔚然为中国画的一大潮向，从这也可以看到中国文化承传的保守性的力量。

Dadaism came out in Frist World War, then the Abstract expressionism and pop art came out one after one after the Second World War, and made New York instead Paris become the world art centre, those are clear proof.

一战与达达主义的出现，二战之后美国的抽象表现主义和波普艺术相继登上世界艺术舞台，并使纽约取代巴黎，成为了世界艺术的中心都是明证。

Then we should re-explain art.

文章把现代主义艺术的抽象化进程作为第一部分：印象主义的崛起，后印象主义，现代主义的发展，这是一个艺术逐渐抽象的过程；杜尚以后的艺术作为第二部分：杜尚与达达主义，超现实主义，装置与新达达主义，波普艺术，从极少艺术到观念艺术，新具象艺术，这是一个以具象形式对抽象主义的反拨。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。