Decentralization of Postmodern Art

1. Postmodern art is a new art derived from postmodernism, which is different from contemporary and modern art. Its main purpose is to abandon the basic premise and norms of modernity. In Postmodernist art, this abandonment shows that it rejects modern art as an independent value which has divided the cultural field, and rejects the principle of limiting the form of modern art and ideological tendency. Its essence is to transcend subjective expressionism, respect nature and return to nature
the basic idea of postmodern art is to break through all taboos and boundaries and pursue freedom in artistic creation. This is also a starting point for his criticism of modern art. He is dissatisfied with the bondage of modern art to form, system and concept, and does not want to stagnate in artistic creation and innovation. The "uncertainty" of postmodern art reflects the endless spirit of subverting tradition and the irresistible power of art to subvert the old culture. The purpose of postmodern art's negation of traditional art is not to do without art, but to seek new art and great freedom without any restriction, which is a process of deconstruction before construction
postmodern art is not a concept of style, it can be said that it transcends modern art, because its philosophy has changed fundamentally< The characteristics of post-modern art are summarized as follows: 1. Freedom
post modern art breaks through all the shackles and taboos of the original art, pursues to return to nature, transcends nature, and embodies unlimited freedom and continuous innovation of artistic creation
2. Virtuality
because "signified" is also in the field of "mark", social reality is also composed of symbolic interpretation, and there is no naked fact beyond symbolic interpretation, so art proction has the significance of real proction. In the post-modern society, art is no longer the reflection of reality; On the contrary, reality is composed of art, and reality becomes a virtual and constructed reality. The proction of pictures or images has become a common mode of artistic proction, and also a mode of proction of post-modern reality. We can explain this phenomenon in the theory of W. Welsch and J. Baudrillard
3. Eventuality
since the essence of eternity is cancelled, all accidental events have their own meaning. Postmodern performance art highlights the irrepeatability of events and disintegrates causality and rational order in daily life with shocking scene effect. The theory of t. adonor and Lyotard can explain this phenomenon
4. Concept
the concept of self-discipline of modern art has been subverted, art alone is not enough to constitute art, art is always "about what" art, the theoretical explanation of art is also involved in the composition of art, art is more and more close to philosophy, becoming a kind of idea. Danto's theory can explain this phenomenon
5. Collage
postmodern art is also regarded as post historical art. In the field of post-modern art,
the time context that links all kinds of art in the past has failed, and the history of art has no "arrow of time". Art is no longer the difference between the past and the present, the difference between inside and outside, all the art that once appeared can become the object of post-modern art
artists' appropriation and collage, so post-modern art no longer requires originality. This phenomenon can be explained by schusterman's theory.
6. Popularity
postmodern art no longer pursues eternal value, but opposes the distinction between elegance and popularity, elite and the public, which makes art, like the commodity of consumer society, have the characteristics of fashion and popularity. What is popular in the art world is the change of various styles that have appeared in history, but no matter what kind of change of style is impossible to occupy a lasting position in the art world.

2. First of all, postmodernism opposes the idea of centrality and true reason, and insists on the idea of uncertainty. In modernism, people are regarded as the subject, society as the object, and people's cognitive ability is the inevitable logical process of understanding nature. In the view of postmodernism, it is wrong to generalize the life world with logic. In the life world, people's cognition is the same as people's activities, there is no universal logic, and a certain effective way of thinking can not be regarded as universally effective. Postmodernism believes that there is no eternal and universal value, and gives up the pursuit of "ultimate truth". Truth is relative, because truth is constructed. All truths are made up of language. We must go back to language, because language has the function of shaping the concept of reality. Man is not the center of language. It is not us that control language, but language that control us. As Jameson said, it's not "I speak language, but language speaks me.". Since language is regarded as the theme of culture, social relations are mainly linguistic relations rather than material interests. Derrida also thinks that we should break the original grammatical structure and reconstruct the language. The distortion of language and expression leads to the uncertainty of language and the difference of meaning. Meaning is also caused by differences, so there is no absolute truth in meaning. Foucault believes that the function of theory is no longer to explore the truth, but to criticize the phenomenon, and that theory is only a game of language. In things and words, it is a game without rules to create new languages and write those languages that others can't understand. The result of opposing the center will inevitably lead to the characteristics of "uncertainty". Hassan believes that "uncertainty" is the proct of the digestion of the center and essence. This kind of "uncertainty" brings all the existing things into the overall doubt, which constitutes the digestion of all things and the legitimacy of all authority< Secondly, postmodernism criticizes "metadiscourse" and opposes "grand narrative". In the post-modern view, the basic categories of traditional philosophy, such as rationality, wholeness, wealth creation and human liberation, all belong to "meta discourse" and "grand narrative", which are in the digestion list, because they all exist for the rationality of scientific language which is different from daily discourse. Postmodernism is reflected in the distrust of "metadiscourse" and "grand narrative", and takes its resolution as its main task. Lyotard criticizes Habermas's "holism" anonymously in postmodern state, holding that his "metadiscourse" and "grand narrative" are meaningless, and points out that today is the era of eliminating "non discourse". He believes that there are two kinds of national myths: one is the political myth about the liberation of human nature in the tradition of French Enlightenment; The other is the myth about the unity of knowledge constructed by the universal principle of German speculative tradition. Both myths use "metadiscourse" to legitimize themselves. So the crisis of modernity is the crisis of "metadiscourse"“ Legislation for science is the task of metadiscourse. The rationality of the existence of scientific theory makes reasonable argumentation for various theories and establishes various "metadiscourse". There was a crisis at the beginning of such a task. Scientific knowledge is a discourse system, and all advanced technologies are related to language. However, in postmodernism, "legalization" has failed, and "non discourse" with single discourse power has been disintegrated, that is to say, the myth of pursuing "grand narrative" and "legitimacy" has disappeared

thirdly, postmodernism transforms the function of knowledge and dispels the power of knowledge. Knowledge has become a commodity. Knowledge is not acquired by the training of the mind, but by ing. With the establishment of "computer hegemony", knowledge has become a symbol of cold externalization. In the field of knowledge, from "grand narrative" such as freedom, fairness and justice to "micro narrative" - language game. The heterogeneity and negation of language game replace the identity of thought. The function of knowledge has changed from knowledge enlightenment to expert control. Since the enlightenment, Western intellectuals have been pursuing universality, and their theories are also pursuing universal discourse power, which is actually power. Because in modernism, knowledge becomes the symbol of power. Power is the basis of social rule, hidden in various cultural forms and social relations. Foucault believes that right and knowledge form an alliance. It uses knowledge to control society. Therefore, knowledge is no longer objective and neutral. Knowledge is characterized by truth and serves ideology. Appearance is knowledge, but reality is power.

3. Postmodernism is a trend of thought of art, social culture and philosophy that took place in Europe and America in the 1960s and prevailed in the West in the 1970s and 1980s. Its main purpose is to give up the basic premise and standard content of modernity. In postmodern art, this kind of abandonment is reflected in the rejection of the independent value of modernist art as a divided cultural field, and the rejection of the principle of form limitation and party principle of modernism. Its essence is a kind of intellectual anti rationalism, moral cynicism and emotional hedonism< In 1977, American architecture critic Charles Jencks published a book entitled "postmodern architectural language". In this book, Jenks claims that "modernist architecture is dead.". He said with nose and eyes:
"modern architecture died in St. Louis, Missouri, USA at 3:32 p.m. on July 15, 1972... Fortunately, we can accurately determine the death date of modernist architecture, which died after a violent blow. Many people didn't pay attention to the incident, and no one mourned for it, but that doesn't mean the sudden death is untrue. "
Janks's weird words refer to the planned bombing of a high-rise apartment designed by yamasachi for black people in St. Louis on that day. The apartment buildings were cleared as unsafe houses because of frequent violence. This is a matter of social order, but Jenks regards it as a mistake of modernist architecture. The fact is that in 1951, the design of those apartments was awarded by the American Institute of architects
nevertheless, for a while, the death theory of modernist architecture was rampant. In the same year that Jenks published his book, another American, Blake, published a book which claimed to be an "indictment" of modernist architecture. The book is entitled "form follows the Fiasco: why modernism doesn't work."
Time magazine also joined in in 1979. There was a special article in the issue of January 9 that said, "the 1970s was the age of the death of modern architecture. Its base is in the United States. In this hospitable land, the dreams of the pioneers of modern art and modern architecture are quietly buried. "
before that, people have noticed that there are architectural tendencies different from modernism in the field of architecture in the world. Some people call them "non modernism architecture", "anti modernism architecture", etc., but there is no consistent name. After the publication of Jens' book, the name of "post modernism architecture" has become a common term< However, the understanding of postmodernist architecture is very different. In the speech of modern architecture at a loss (1980), American architecture critic huxtabel said: "under the banner of postmodernism, there are people from different factions (not without friction), including formalists who turn all buildings into symbols or symbols, and compatibilists who accept all historical and local elements disorderly. The reason why these different schools can unite is that they all think modernism is out of date...
Italian architectural theorist Savi said: "postmodernism is actually a hodgepodge. I think there are two opposite trends. One is the "new academic school", which plagiarizes classicism, but this group does not revive the true spirit of classicism, but just fiddle with it... The other is to escape all laws, advocate "do as you like", and mix up contradictory things. "
both of the above critics object that modernism is dead. "I think it's alive, and it's living well," huxtabel said "Modernist architecture is not dead... It's because Americans want to get rid of the influence of European culture," said Xavi
Jenks later admitted that his modern architecture "died in 1972" was to "add a little drama", but insisted on "died". In 1983, he finally admitted that the death theory of modernist architecture was not in line with reality< Of course, the modernist architecture formed in the early 20th century will not change. 6、 Seventy years later, great changes have taken place in all aspects of the world. Naturally, architecture will change with the times. However, the so-called post-modernism architecture as a creative trend, no matter which school, is mainly concerned about the architectural image, architectural art style, basically does not involve the architectural function, technology, economic matters
from a historical point of view, the so-called post-modernism should be regarded as an extension, a modification, a variation of the aesthetics and form of modernist architecture, or one of its schools, namely "post-modernism school". However, for the sake of simplicity, we still use the name of postmodern architecture< First, postmodernism is not a concept of style. The reason why the idea that postmodernism is a kind of style can not be established is that no matter what kind of style terms are used to define modernism and postmodernism, people find it difficult to distinguish them, or the latter is just the strengthening or molation of some styles that the former has already possessed. It has long been pointed out that Hassan's distinctive features of Postmodernism (such as "uncertainty", "internality" and so on) are not tenable at all. The definition of postmodernism by style or language will lead to the absurd conclusion that some parts of a work are modernism and others are Postmodernism (for example, the stream of consciousness part of Ulysses is modernism, while its parody or parody part is postmodernism, and Eisenman's architectural language is modernism, But its space is postmodern, etc.). As C. B. Chabot said, "we lack a full and universally accepted understanding of modernism, which makes many arguments for postmodernism become specious. Many of the things named postmodernism come directly from the early [modernist] writers."< Second, postmodernism is not a concept of a period or an art movement. Firstly, it mistakenly regards modernism as a temporal art movement (for example, from 1860 to 1960), which leads to the absurd conclusion that "all" art after 1960 is regarded as postmodernism; Second, it is either based on a vulgar social determinism (such as Jameson's), or on some apocalyptic dogmatism that asserts that "we have entered postmodernism" (such as bodelia, and most of the low-level postmodernist theorists). As Chabot said, "people even think that we live in a post-modern society. A certain number of people obviously believe that the fracture of culture has appeared at a certain time, and its signs can be detected from the whole scope of our cultural activities. However, it seems that few people have reached a consensus on the time when its fundamental nature and hypothesis are broken, and even fewer people have the same opinion on how to best depict its impact on our cultural procts. " This dogmatism is not only untenable, but also abhorrent in its prophetic tone. F. f. centore pointed out: "postmodernism has in fact become an unofficial national religion, a new salvation myth, with universal validity, and every good citizen must abide by it. In fact, those who do not follow this free consensus commit treason. In the name of radical hermeneutics, deconstructionism, Neo pragmatism or postmodernism, contemporary Orthodox doctrines teach people that the modern world (1600-1945) has gone forever with the collapse of God and objective science. It should be replaced by a world of more fluid and amorphous processes, so it calls for a more radical model of interpretation. It insists that everything is only a metaphor or symbol of reality, and reality does not exist. Everything is the function of history; All cultures and religions are temporal, temporary and mythical. It's not the word of God that creates the world, but Hermeneutics - Midway and end are no exception, of course. "
thirdly, postmodernism is not the reality of western contemporary art, it is only, and has always been, a form of concept, a concept of criticism or aesthetics. This is particularly worth mentioning. Some naive postmodernists believe that we have "entered" an epoch-making period, where everything is "postmodern". In China, however, e to the specious and incomprehensible introction of some more naive postmodernist scholars, and the "post-modern theoretical research" which has been rampant since the beginning, people have proced "what should we do when the West has entered the post-modern era" in their daily consciousness We should bypass the modern and enter the post-modern Utopia. In fact, postmodernism is by no means a social reality or even an ideological reality in the West. It is not a social reality because, as Berger pointed out to the point: "although the economy, technology and society have undergone profound changes compared with the second half of the 19th century, the dominant mode of proction remains the same: the exploitation of the surplus value of collective proction by private capital. Social democracy in Western Europe has fully realized that, despite the growing significance of government intervention in economic affairs, the pursuit of maximum profit is still the driving force of social proction. Therefore, we should be careful in explaining the current changes, and should not naively value them as signs of epoch-making changes. " The reason why postmodernism is not even an ideological fact is that since its birth, postmodernism has been criticized and refuted by western people of insight. In other words, postmodernism does not exist as a "ideological reality" for a day, but always as a "problem" Of course, in the eyes of postmodernists, modernism is even more hopeless.) As Chabot said, "they [postmodernists] assume that we are actually witnessing the emergence of a real postmodern culture, and I want to question that assumption. In my opinion, some things called postmodernism are actually a kind of recent development or evolution within modernism itself, which has at least the same plausibility. I have put forward some arguments to support my argument: (1) there is no satisfactory and generally accepted postmodernist explanation 2) Many things called postmodernism come directly from modernism 3) Most of the debates about its existence are mainly through the generalization of modernism's exhaustion, especially through a generalization that ignores its nature as a second level concept, so as to obtain its original authenticity. "
finally, postmodernism is not a concept of media or artistic style. Therefore, for example, we can not say that easel painting is modernist, but installation art and visual art

4. As a term, "contemporary art" has become the most frequently used concept in Chinese art circles. Because it involves the language characteristics and value orientation of specific works of art, it is far more attractive to the specific practitioners of visual arts than the ideological concepts in the social and humanistic fields such as "post modernism", "post colonialism", "Sociological Turn", "iconological turn", "body turn" and so on. Today, in many conferences and exhibitions, in many print and Internet media, and in people's after dinner talks, "contemporary art" has become the most fashionable term in the eyes and mouths of many art creators, operators, propagandists, interpreters and collectors

just like all the special academic terms in Chinese academic circles in the past 20 years are basically derived from the west, the word "contemporary art" is no exception. It is the feedback of various kinds of information from Chinese artists participating in various foreign exhibitions. It is also the introction of various kinds of art information into China, especially through the good examples of international art auction in recent years, which has graally penetrated into the audio-visual of Chinese art circles. Once this imported term is settled in China, its fate will become more and more complicated. First of all, the works of art, which started in the mid-1980s and became a new visual force through hard struggle and struggle in the 1990s and the past few years of this century, have been packaged by foreign or domestic auction companies and put on the market in the name of "contemporary art special". Many of them have gone up all the way, and the market price has increased by 10 times. Secondly, influenced by foreign exhibition opportunities and the favorable auction market, more and more works of fans who are similar to the works of excellent contemporary artists in terms of creative concept, modeling techniques and language style are full of all kinds of newly emerged Gallery primary market and Liuying auction secondary market. Thirdly, all kinds of other art schools originated in the 1980s, which are parallel to the expression of artistic ideas created and established by the new trend art movement in the Eighth Five Year Plan period, are also entitled "contemporary" oil painting, ink painting, sculpture, photography and so on. Their exhibitions, works or catalogues are numerous. Finally, a large number of topics and courses with its name or prefix appear in the forums and forums of cultural departments and art colleges in important cities in China. However, the specific works involved are diverse in language styles and creative ideas, even in different directions

all this has happened in recent years. It seems that all art lovers and practitioners "consciously" bring their interests and pursuits into the scope of "contemporary" art, because all people live in the context of "contemporary". As a result, we can see that the western academic community's efforts to determine the post-modern style that has been inundated and try to restore the original vitality of art are collectively referred to as "contemporary" art in China. Here, there is a subtle but profound difference: this "contemporary" art is different from that "contemporary art", although both Chinese concepts are contemporary art in English. To put it another way, in the development of Western art in the past 100 years, modern art has put too much emphasis on the art self-discipline and formalism of resisting commodity capital, so post modern art came into being in the new situation changed after World War II. It used a large number of decentralized deconstruction methods and paid attention to the intervention and integration of art to commercialization, Trying to overcome the dilemma of modern art. The emergence of contemporary art as a concept is a corrective appeal to the cynicism and new style tendency of post-modern art[ ① That is to say, in the use of Chinese context, the pursuit of contemporary art, which is formed by the progressive logic in the western context, obviously does not or partially loses its original progressive logic relationship, but is compressed in the time level based on the current "contemporaneity". In the western context, a rich artistic appeal after more than 100 years of Ideological and conceptual evolution has been simplified as a fashionable art vocabulary in the Chinese context

the reason why "contemporary art" has been simplified in the context of Chinese use is that Chinese art, as a whole, is still a mixture of classical art with naturalism as its appeal, modern art with liberalism as its appeal, and postmodern art with consumerism as its appeal, After China was forced to open its door to the outside world, it also tried to carry out modern changes in the field of culture and art. However, the special social and political struggle of national independence and liberation in China for most of the last century could not make art develop according to its own logic

even so, today's China still has a new visual force. In less than 30 years since the beginning of reform and opening up, it has got rid of the preaching of political consciousness, the scars of naturalism and the control and influence of local customs. In terms of self-discipline and reflection of art, and in terms of art's reflection on the changed social structure and people's ideas, In response to the cultural concerns of economic globalization, art has formed its own style and value orientation. Since the mid-1990s, works of art, as the visual embodiment of this power, have participated in a series of important international art exhibitions in the West. As time goes on, with the graal attention of the west to non Western art, the areas of participation in the exhibitions have also expanded to many non western countries and regions, including Asia. The works of this visual force are basically called "contemporary art" when they participate in the exhibition. This shows that, although the works of Chinese artists, initially named "contemporary art" by Western curators, are not as long as those of Western art circles in terms of logical time progression, their styles and value orientations are different, It is completely different from the former vulgar sociological realism which serves the political ideology and the formal aesthetics which stays in the interest of naturalism. The latter can only be regarded as the category of artistic creation in the late classicism and the early modernism. Western curators and a few collectors have seen the symbolism and correspondence between this new visual power and the rise of China from all aspects, because only this visual power can more accurately reflect the profound changes that are taking place in China, while those vulgar realism and natural forms of expression completely ignore the actual situation of Chinese society, It is still using the traditional techniques that have not made any substantial breakthrough in the past thousand years or the outdated oil painting style of the West

this is why the new trend art movement originated in the mid-1980s, and a series of experimental and avant-garde art works that not only pay attention to artistic language style, but also pay attention to the social reality of contemporary China launched in the 1990s and this century were first named "Chinese Contemporary Art" by Western curators and collectors. It is this new visual force rather than other conventional art traditions that are called "contemporary art", although both of them are in the same period of time in the last 30 years of China's reform and opening up

it should be noted that many people, including the staff of art circles, news media circles and cultural departments, have pointed out that the works of Chinese artists, which are called "contemporary art", are only the identification of the postcolonial color of Western curators and collectors, and cannot represent the whole picture of Chinese contemporary art. So, can people who hold such a view outline the whole picture of Chinese contemporary art for us? While affirming that contemporary art originated from the West and maintains a concern and critical position on social reality and international issues, some of these people take academic writing as their main subject, and at the same time, they open up a wide menu of "contemporary art", which is full of vulgar realism and natural forms of expression. In this era, all kinds of artists label themselves as "contemporary artists" from "contemporary" artists. This phenomenon is a personal rush. There is nothing wrong with it, and there is no need to be surprised. However, if people who are born in the history of art or who also take art criticism and teaching theory as their profession make such comments, it will be surprising. What's more, some theorists take Wittgenstein out and say that since the meaning of language and vocabulary lies in usage or use, concepts such as "contemporary art" can completely reinterpret and use it to express Chinese art which is different from the understanding of Western discourse power owners. In fact, more than a decade ago, when Western curators and collectors saw the new visual phenomenon in China, they could not find the appropriate concept words to describe and summarize from the Chinese cultural context and traditional vocabulary. They could only find the more accurate expression from their knowledge and artistic experience. What's more, the Chinese art critics, who were in the middle of it at that time and were arguing with all kinds of conservative arguments that began to revive in the early 1990s, could not clearly see how to accurately summarize the artistic phenomena that were happening here. In fact, what kind of conceptual vocabulary Westerners choose to describe the new visual phenomenon in China since the 1990s is not the most important for Chinese art. In other words, whether it is Chinese or Westerners, who first used what kind of noun concept to describe this new visual power is not crucial. What matters is what kind of promotion and positive role the artistic phenomenon under the concept of "contemporary art" or other terms plays in the development of Chinese art, and what kind of value it has. This is the key to the problem

so far, how to evaluate the new trend art movement originated in the mid-1980s, and a series of experimental and avant-garde works of art that not only pay attention to artistic language style, but also pay attention to contemporary Chinese social reality, have become the core of the problem. For more than 20 years, the praise and criticism of this new visual power has never stopped, but at different time points in this period, the focus of the debate is different. In the early 1980s, critics often attacked from the perspective of political ideology; In the mid-1990s, critics expressed the misreading of Chinese art by Western cultural hegemony from the perspective of post colonialism; In the recent 21st century, critics focus on the intervention and hype of art in the capital market. It is in such disputes that this new visual force is constantly developing and growing. It frequently participates in various forms of international exhibitions and expositions, and has increasingly become a teaching plan for teachers and students in domestic higher art colleges

5. The characteristics of modernism and post modernism

6. Abstract: This paper expounds the mutual influence between postmodernist art and contemporary people's ideas, discusses the hypocrisy and affectation of postmodernist works from a critical perspective, and expresses the author's hope for a kind of aesthetic concept of returning to nature, just as Rousseau said: & quot; Everything that comes from the hand of the creator is good, but when it comes to the hand of man, it becomes bad; Natural is always beautiful.

key words: Classicism, postmodernism, disorder, spiritual crisis

one of the differences between man and animals is that man is the best at imitation, and obtains the initial knowledge through imitation. From the earliest primitive murals, man imitates nature initially, and we can regard this action as the origin of art. If nature itself represents a kind of harmony and perfection, then the essence of art is a kind of imitation of harmony and perfection. All our pursuit and innovation of beauty are included in this kind of imitation, because the imitation of nature itself is a kind of innovation

by comparing the art works influenced by postmodernism with the origin of this art, we will find that the development of our contemporary art has been far away from the original purpose. Maybe it is for this reason that many people who support postmodernism say that postmodernism is a kind of revolution and innovation, but in fact it is not, This kind of art development is totally different, and the result will be deformed and absurd works of art. Some people say that this is a problem of style, but I don't think postmodernism can be regarded as an art style. First of all, a certain kind of art style must be formed, and the work of art itself must be highly ordered, We can regard Bach's music and Mozart's music as two different artistic styles, but we can never regard the music formed by random arrangement and combination of notes as an artistic style, and raise it to the same height as Bach's and Mozart's music. Although we add the word "doctrine" after postmodernism, postmodernism still can not form its own unique style and system like classicism or romanticism, let alone become the literary movement of our time like the Renaissance

although the postmodernist art form has its own characteristics, its characteristics are based on the random disorder. For example, Dali painted Venus' body in the ancient Greek "Venus with broken arms" as the superposition of layers of drawers, which highlights the personality with the beauty of destroying harmony, To achieve a distorted artistic pleasure, the existence of such works is the defilement of art. Because of the great disorder of postmodern art, most people can classify the weird and incomprehensible works as postmodernism, and show the profundity of the works by making use of the disorder and disorder of the works, He accepted the works with the same mentality as the ministers and fools in the emperor's new clothes. Because of the randomness of the work, the creation process of the work becomes simple, and the expression method is single. The artistic creation is completely included in the creator's ideology, and the artistic skills are ignored

from the content point of view, postmodernist works have obvious consciousness of self degeneration, and through this way to flaunt a self-centered consciousness, although in the Renaissance, through the works of humanists, we can also find that those works reflect the spirit of human or self-centered, no matter how the form and content change, We can all find that in such human centered works, God and nature are included all the time. At the same time, the dialogue between man and God and between man and nature is maintained. For example, in Raphael's the golden winged virgin, the author puts the virgin, Jesus, John in bright colors, and perfectly unifies man and nature through the natural scenery in the background. Through the virgin's action of caring for children, it shows a kind mother. She looks down at Jesus and John with detached, calm and serene eyes. The detachment in her eyes shows the divinity of the virgin. In this way, through the background, action and eyes, Raphael skillfully combines nature, man and God

in the works of postmodernism, the author expresses his creation completely in his own ideology, just as Platonism regards the body as the bondage of the soul, postmodernism also regards the art form as the burden of the content. Comparing Dali's St. George and the dragon with Raphael's, we can find that the content of art should be carried by form. In Raphael's St. George and the dragon, the leaping white horse shows an upward trend, and St. George raises a knife to chop, with a very heroic and graceful action. Dali's sculpture loses its form, which makes the work in the character's inner spirit, spirit, spirit and spirit The description of the brave temperament of life and death struggle is extremely lack of strength. In the birth of tragedy, Nietzsche said: the subjective artist is just a poor artist, and in all kinds of art, the first thing to overcome is the subjective element, to come out from self liberation, to stop the indivial will and desire, any work, if there is no objectivity, no pure transcendent meditation, we do not believe it is a real art< Why does postmodernism come into being? And modern people are so crazy about it? Is the naked expression of the author's consciousness in postmodern works the catharsis of emotion or the return of art? In order to clarify these problems, we need to compare what changes have taken place in our living environment, and which of these changes have changed the aesthetic taste of the public

first of all, the emergence of instrial civilization and the rapid development of instry have accelerated the process of socialization, and the one-sided social pursuit and evaluation criteria have seriously eroded and covered the spiritual heritage of mankind. If people lose their rich cultural and ideological resources and vast spiritual territory, they will lose the premise of forming consensus and the imagination of thought and culture. People's rhythm of life is speeding up, the purpose of life is changing, and they lose the closeness to nature. The natural childlike feeling is disappearing slowly, which makes people's character alienated and distorted. Heavy metal music is born in the noise of instry. Such music is extremely incompatible with nature, but it caters to the taste of many people. They vent themselves in the noise. As the most outstanding miracle of nature, human beings have begun to rely on the dross from their own hands to vent instead of getting the comfort they deserve from mother nature. This uncontrolled emotional venting makes some arts irrational, leads to emotional bias, and even becomes the pronoun of "madness" (such as some performance arts). This is the same as drinking poison to quench thirst, in that way, although catharsis can make oneself feel instant fast, it can't really comfort our hearts<

secondly, after the end of World War II, people fell into a spiritual crisis. The war made people see their cruelty and weakness, and they were afraid of the future. God also died. Belief collapsed under rational doubt, and human beings lost their sense of awe, which led to the weakening of the sense of guilt and shame. People lived in inlgence and helplessness, The birth of postmodernism, bizarre work style, to meet the taste of most people, inner agitation and uneasiness makes it difficult for people to calm down to appreciate the beauty and harmony of art, money first life makes people need only emotional temporary vent, rather than eternal comfort, such as Miro's "harryquin's Carnival", With a mysterious pessimistic tone, the whole painting reflects the carnival atmosphere with messy features, and the things depicted in it have no special symbolic significance, and the only impression is the vent like dream. Postmodernism believes that there is no thing of eternal and universal value, abandons the pursuit of "ultimate truth", and the concepts of nature and God disappear from their works. People only believe in themselves and the things that can bring enjoyment to them. The works are filled with self center, and it is in this state of mind, Today's works of art will not appear in "the last judgment", "Genesis" and other magnificent pictures, its magnificent momentum is not only reflected in the grand structure, but also reflected in the spirit full of divinity and solemnity. Without such spiritual connotation, art will lose its soul

at present, it can be said that human beings are experiencing an unprecedented crisis. In the final analysis, this crisis is the evil result of human beings' unlimited pursuit and possession of material at the expense of spirit and soul. Spirit and material are the two pillars of human beings. Without any of them, the balance will be lost. At present, postmodernism represented by deconstruction has partially deconstructed the philosophical basis of western traditional "centrism". However, whether it is "Anthropocentrism" relative to nature or "Eurocentrism" relative to the world, its core is "material centrism", and they have not deconstructed to this depth. The transcendence of "material centralism" will liberate the spirit and soul which are alienated and enslaved by material from the material quagmire, and make the material and spirit develop in an all-round and balanced way is the real way out for human liberation.

7. Western Modern Art:

western modern art was started by Cezanne, and its exact starting time is unknown. If we have to find a time node, we should set it in 1874, the year when Impressionism was born. Cezanne is known as a "post Impressionist" painter, but he was originally an impressionist and participated in the first Impressionist exhibition in 1874. The so-called Post Impressionism is a concept invented by Roger Frye, an English art critic, later. That is to say, it was labeled by people after Cezanne died< As "the father of modern art", Cezanne's revolutionary creation is that he liberates western art from the shackles of religion and politics. He does not pay attention to "what to draw", but takes "how to draw" as his main purpose of creation. What he pursues is "pure art" of "formalism", Art for art. Formalism painting sounds empty and worthless, but as long as we listen to Cezanne's famous saying "use cylinder, sphere and cone to depict objects", we will know that Cezanne's formalism is not random, and his painting has the nature of geometry and physics. With Cezanne as the starting point, western artists graally decompose, reconstruct and simplify the natural images, and finally create a pure abstract art completely independent of the objective world<

Western Postmodern Art:

the end of Western modernist art, that is, the beginning of postmodern art, was in 1979. In this year, Italian art critic Aguiler bonito Oliva published the article "Italian Super avant garde" in the 92nd-93rd issue of Flash Art magazine in Milan, It announced the emergence of the "New Expressionism" art wave that swept Europe and America later. "New Expressionism" (also called "new image" in the United States and "new Fauvism" in Germany), including "ultra avant-garde art" in Italy and "free representativeness" in France, is the symbolic style of postmodernist art.

8.

The reasons are as follows:

1. The Art Center breaks the design convention of cultural architecture, and highlights the close relationship between modern science and technology and culture and art. It is the most typical representative work of the technical school in modern architecture

"Pompidou Art Center" in Paris is located on the right bank of Seine River in the center of Paris. It was established on the initiative of the late French President Pompidou. Since its opening in 1977, it has become a palace where the world's modern arts gather

The building itself, like the works of art in it, has become a masterpiece of modern art in the 20th century. It is a new and modern treasure house of knowledge, art and life

The Pompidou Art Center is composed of four parts: Instrial creation center, public reference library, National Museum of modern art and music acoustics coordination Institute. At the same time, the center has set up two children's parks

in the "instrial creation center", we mainly introce the municipal construction, living environment and the invention and creation of various technological procts to the audience through various exhibitions and books. At the same time, it also provides the audience with information and consultation on various daily consumer goods

"National Museum of modern art" is also different from those old art museums, highlighting the word "modern" and introcing various Western plastic arts since the 20th century. It includes 2000 works of Cubism, abstraction, surrealism, structuralism, conceptual art and pop art

the display method of the collections in the museum is also modern: a main line arranges the representative works of various schools of art in chronological order, and there are many small exhibition rooms around to introce the works of an artist of a certain school, so that the audience can not only understand the general picture of modern western art, but also conct in-depth research on an interested school or artist

"music acoustics Coordination Research Institute" is built underground beside the building to avoid noise interference. Its main function is to enable musicians to use modern equipment and technology to engage in creation

9. I am a music major studying abroad. It can't represent all art disciplines, but I may be able to express my own views on my own major

as we all know, western music can be roughly divided into three stages: classical period, romantic period, and modern period (the middle ages, Baroque, Impressionism and neoclassicism have little to do with the theme, not to mention this for the time being). Modern music can be divided into modern and post-modern

from the beginning, as a way of communicating with God (Art and sculpture are the same), music used more harmonious intervals and chords, and personal feelings did not affect music too much, Because at that time (Baroque and classical) similar operas or Concertos and symphonies (this was not widely used by Haydn until the classical period) had a specific format. In terms of sonata form, there is a strict harmony structure in the expositional presentation, development and reproction. For example, from exhibition to development, there should be a semi cadenze to clarify the musical structure. And music slowly developed to the romantic period, people's feelings graally began to take over a work. The structure began to blur, just like the people-oriented advocated in the enlightenment movement of the same period, the divinity in music graally disappeared, and human nature began to prevail. A variety of musical forms, new chords, and the use of discordant intervals began to move into the mainstream. Take the song as an example, at that time, almost all of the songs were about the love that could not be obtained, and finally ended with tragedy. Finally, the era of music pioneered by Beethoven ended after World War II. You can listen to the works of late romantic composers, such as Richard Strauss and Stravinsky (especially the Spring Festival)

after the war, some composers believed that excessive and uncontrollable emotional catharsis was the main cause of the chaos and war in the world, so some composers, such as Schoenberg, albanberg and Webern, led by the then emerging Freud's subconscious thought, discovered atonal music, which made music from the romantic period into the modern period. In this period, music became very strange, harmonious music was expelled and blocked, replaced by abstract music like subconscious. The obvious emotion was abandoned, and the abstract and stream of consciousness works graally became the mainstream (like music, in the literature of the same period, Joyce James's stream of consciousness masterpiece "portrait of a young artist" appeared, and Virginia Woolf's stream of consciousness works also began to appear; In art, Picasso Dali and others also began to become the mainstream. Music, once again from human nature to deep excavation, has entered the subconscious world of human beings

postmodern works appear after the new millennium. My tutor explained postmodern works to me in this way: he said that some composers no longer write obscure and hard to hear serial music. They like classical and romantic music, but now the atonal music of twelve tone system is the mainstream of society. In the world of composers, Composers who write beautiful things are idiots (it may be extreme, but it's true). So they came up with a compromise. They wrote music that sounded like classical works, but they declared that these works were not written by them, but by a composer of the classical period they later discovered. Of course, this composer is their fiction, but these works not only have the shadow of modern works, but also wear the skin of classical romanticism, so they are called post-modernism works

in a word, art begins with divinity, then goes into human nature, continues to go deep into subconsciousness, goes to abstraction, and finally returns partly to the original human nature and divinity. Every step is indispensable, and each step has its own shadow and connection

I don't know if I'm clear or not. If you want to listen to a list of music from different periods, you can ask me at any time.

10. On Postmodern Art_ The Research Report of postmodern art

postmodernism happened in the 1970s and became popular in Europe and America in the 1980s and 1990s. The watershed between modern art and postmodern art is the "may storm" in 1968 in France. In the future, modernism has a great influence on philosophy, art, culture, medicine and even architecture. Its main purpose is to abandon the basic premise and norms of modernity. In the post-modernism art, this abandonment shows that it rejects modern art as an independent value which has divided the cultural field, and rejects the limiting principle and ideological tendency of modern art form. Its essence is to transcend subjective expressionism, respect nature and return to nature< In the 1980s, post philosophy graally became a system, which advocated opposing the dichotomy of subject and object, emphasizing the harmony between human and nature, and building a global village of "I and I". Their idea of the unity of man and the world and the integration of things and self is a transcendence after the baptism of the Western Millennium traditional subject object relationship. Obviously, the theoretical system of Post Philosophy supports the further development of post-modern art

the basic idea of postmodern art is to break through all taboos and boundaries and pursue freedom in artistic creation. This is also a starting point for his criticism of modern art. He is dissatisfied with the bondage of modern art to form, system and concept, and does not want to stagnate in artistic creation and innovation. This is what postmodern art calls "uncertainty". It also reflects the endless spirit of post-modern art to subvert the tradition and the irresistible power of art to subvert the old culture. The purpose of postmodern art's negation of traditional art is not to do without art, but to seek new art and great freedom without any restriction, which is a process of deconstruction before construction

postmodern art is not a concept of style, it can be said that it transcends modern art, because its philosophy has changed fundamentally. It explores new ways of expression, looks for the feeling of something that can't be expressed, and then shows the invisible. It uses philosophical language to explore art (looking for absence), deconstructing and reconstructing first< Some western scholars believe that Cezanne is the father of modern art, while Duchamp is the founder of post-modern art. Pollock is the enlightener of postmodern art. Pollock brought art back to the state of spontaneity and naturalness. It's true that the first art activities of human beings were spontaneous and natural. There was no need for special training. There were no professional artists. After art became a professional work, there were standards for art, such as the classical "six methods" in Chinese painting and the "new seven methods" by Xu Beihong. Obviously, this kind of division of labor and standard are shackles and hinder the development of sound human nature. Nowadays, when social conditions have changed, it is obviously unreasonable to regard these fixed standards as the supreme rules for people to follow. Duchamp's greatest inspiration to later generations is that he has a kind of seemingly funny but actually quite profound thought. He ridicules people's formality and craftsmanship in the field of culture and art, thus calling for a new era full of free creative spirit. Duchamp suggested that the value of art lies in thought. With thought, any material proct can become a work of art. This kind of thinking that promotes art creation to the philosophical level objectively cancels the traditional art discipline, and implies the theoretical judgment that art and art history are about to end. Recently, some people in China shout that art is dead. But I think that human artistic wisdom is far from over. To deny the old is bound to create a new, which is the pursuit of human social progress

the process art in the middle and late last century has a great influence on the transition of modern art to postmodern art. It originated from the chance that Pollock and dekuning splashed paint in their creation. Although it was a breakthrough in technique, it had a great influence on Postmodern Art in artistic concept. Process art thinks that the creative process of art is more important than the previous conception. Experiencing the passage of time is better than watching static and lasting objects. It tries to express the transient being. Process art mostly uses soft pigments which are easy to reflect the change of time. Pollock created many works with Chinese made Moka egg white in his middle and late artistic creation

post structuralism, as a trend of thought, flourished in France and Northern Europe, and flourished in the United States. This trend of thought is derived from the development of structuralism. Derrida is the main character of post structuralism. His attack targets are structuralism and "logocentrism". As the word "logos" has the meaning of both "language" and "thought", traditional western philosophy holds that thought and language are consistent. Derrida, on the other hand, opposes the consistency of language and thought. He puts forward the philosophical term "Deconstruction". Deconstruction has the meaning of analysis, decomposition, disintegration and disappearance. Through deconstruction, we can destroy the self-sufficient and perfect system of structuralism and subvert the whole world of "logos centrism". Therefore, there are some translation methods of post structuralism into deconstruction in China“ "Dedifferentiation" is an important contribution of post structuralism, which opposes the binary separation of modernism and metaphysical "logocentrism". Post structuralism holds that there is no differentiation and opposition between material and spirit, subject and object, signifier and signified, body and soul, phenomenon and essence, presence and absence, thus breaking the traditional metaphysical thinking and the binary differentiation thinking in modernism. The "dedifferentiation" of post structuralism is a way to transcend self, which is different from the discussion and exploration of Zen

throughout the modern art and post-modern art, we find that the aesthetic value and idea of philosophy have changed fundamentally. There has been a consensus on whether beauty exists in "presence" or "Absence" for centuries. The works created by an artist who can transcend the presence and is full of imagination and fantasy hope are more vivid and sublime. Hope is not a fantasy. Hope always tries to transform the unrealistic things into the real existence and the hidden existence into existence. The process of transformation is the work and pursuit of post-modern artists. The poetic realm of artists does not require the response of reality, which brings hope as art and visual aesthetics. This kind of hope means breaking through the boundaries and struggling out of the established framework of reality. Hope is the transformation of pain and happiness, darkness and light. To achieve this transformation, we must pay the price of bleeding

it is only 10 years since the relevant concepts and books of postmodernism entered China. As the most important cultural trend of thought in the contemporary west, we should have a comprehensive understanding and analysis of it. We should no longer deal with such an extremely complex and profound ideological movement with a simplified method as we do with pragmatism and existentialism. After the 85 trend of thought in China, Chinese people just knew modern art and did not fully understand modern art, and then came post-modern art. Obviously, the dispute between post-modern and Modernity in the academic circles has just begun, far from unfolding. In fact, some thoughts of postmodernism have sounded an alarm for our mistakes in the process of modernization. Over the past half century, the philosophy of subject object dichotomy has dominated our generations, and people of insight have seen its negative effect on the development of our country and nation. Postmodernism's idea of transcending the dichotomy of subject and object is actually the realm of our Taoism and Zen, which is acknowledged by contemporary European and American philosophers. This may be coincidence or reincarnation.