受禅宗影响的中国当代艺术特征

 20世纪90年代中国当代艺术呈现看似繁华却是文化虚无的浮躁艺术状态，很多艺术家重视国际的资讯，新兴的技术媒介，追求图像形式主义、带有暴力性视觉冲击，利用调侃、讽刺、挪用的方式去表现迎合西方人的眼球的中国都市现实。在高名潞先生所策划的“中国式极多主义”及栗宪庭先生所策划的“念珠与笔触”的展览后，一群用积简入繁的方式进行创作的极多主义艺术家被受批评家的关注和发掘。艺术家们运用简单抽象的符号反反复复的劳作着，无表现、无意义甚至虚无的艺术形式具有时代的反动，是对当代腐化艺术现状消解和对中国当代艺术精神的探索。它深受中国自身传统宗教禅宗文化的影响，具有禅宗精神的本质追求。

    关键词：中国当代艺术，积简入繁，极多主义，禅宗

Abstract
In 1990s, State of the art of contemporary art Chinese show is seemingly prosperous cultural vanity impetuous. Many artists attention of violence of the visual impact, Using ridicule, satire, misappropriation of way to the West to show Chinese urban reality. In Gao Minglu planned “Chinese Maximalism”and Li Xianting planned “prayer beads and brushwork”exhibition. The Maximalism artist concerned and explored by critics, Whose used product in numerous art artist creation. Artists use symbols and simple the art of Chinese corrupt digestion and contemporary art spirit of exploration. It is deeply influenced by the traditional religion the Chan sect culture which has the nature spirit pursuit. 
Key  word：China contemporary art, From simple to complex, Maximalism,the Chan sect

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