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在当代印坛,赵冬友无疑是一个无法忽视的人物。作为新时期崛起的第一代篆刻家,他不仅在20世纪80年代中期便致力于当代篆刻启蒙、价值重建,而且在从20世纪80年代后期至今的整个当代篆刻复兴期都自始至终地关注、参与当代篆刻的进程,并以其理论实践对当代篆刻施加影响;作为当代印坛已被定评的为数不多的代表篆刻家之一(《篆刻》杂志2006年评选中国肖形印十家,赵冬友以其在肖形印创作上取得的突出成就名列其中),他的篆刻创作则始终与当代篆刻审美思潮保持着密切的感应,并以自觉的审美定向,追寻自身创作与传统、时代价值的统一。
In contemporary print altar, Zhao Dongyou is undoubtedly a figure that can not be ignored. As the first generation of rising sculptor in the new era, he devoted himself not only to contemporary carving enlightenment and value reconstruction in the mid-1980s, but also throughout the contemporary contemporary carving and revival period from the late 1980s until now. Contemporary carving process, and with its theoretical practice on contemporary carving exert influence; as the Indian printed artemisia has been rated as one of the few on behalf of the seal carver (“Seal Carving” magazine in 2006 China selected 10 Shaw printing, Zhao Dongyou His works have always been closely related to the aesthetic trend of contemporary carving. His conscious aesthetic orientation has pursued his own creations and traditions. The value of the times Unite.