观念性的缓冲

来源：聂赫夫丨NIEHEFU 时间：2018-09-13

观念性是艺术在二十世纪中后期开始频繁出现的一种现象。而这一艺术现象在今天已经进入了快速发展的时期，观念性成为了艺术创作中至关重要的切入点。

Conceptuality can be interpreted in both a broad sense and in a narrow one. Generally, concepts refer to people’s opinions，perspectives on their social lives, i.e. ideologies. In a narrow sense, conceptuality is the methodology how artists enter the creative state of mind; it exists within our appreciations of arts. Since the twentieth century, this artistic phenomenon has been developing rapidly and become an essential starting point of artistic creations.

这种现象的产生和繁盛，我认为是在“后现代”之后。这一时期的人文、社会、生产力均已经达到了相应的程度，人们对于艺术的理解和观看的方式逐渐无法停留在后现代的影响之下，对于艺术背后的思想性和启迪性的要求变得与日俱增。艺术创作进入了一个前所未有的新命题时期。

In my opinion, the appearance and prosperity of conceptuality occurred after the postmodernism. At that time, humanities and productivities of the society are sufficiently developed that people’s perspectives and appreciations of art started to diverge from the influence of the postmodernism. The need for the ideological and inspirational aspect of art became imminent. Artistic creation entered an unprecedented era of new topics.

在这样的大环境下，我进行了相当一段时间的绘画创作实验，试图找出绘画创作全新的思路和观看方法。我发现了观念性因素的植入对于绘画而言具有不寻常的意义，也和我目前为止的创作思路有着复杂的关联。因此本文我会就绘画观念性因素和符号性问题进行探讨，希望能求得更多的想法和思路。

In such an environment, I conducted painting creation experiments, trying to find new ideas and views in painting creations. I discovered that the extraordinary significance of the implementation of conceptual aspects, which is correlated with my thoughts in creation so far. Thus, in this paper, the conceptual and symbolic aspects in painting will be discussed in order to inspire more ideas.

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