Liotta Perspective Narrative Evolution Research In Chinese Contemporary Art

Lyotard’s postmodern theory is questioned on the basis of the establishment of the ‘grandnarrative’,knowledgeofthelawasastartingpoint,thepointofviewoflanguagequalificationsand language (‘language games’and language ‘incommensurable about’principle) to determinethe the crucial grand narrative cultural and social, to support marginalized narrative and theconstruction of narrative legalization position. As an extensive knowledge of art, the foundingof New China, the characterization of the ‘grand narrative’is very obvious. Rely on propagandathemeofthesocialideal,thisisapoliticalsystem,legalizationofrealityandconceptualizationof the style characteristics of the position occupied by an absolute narrative art. The authorityof art and artistic expression marginalized position. Since the reform and opening up, the artinto the contemporary stage artists change of thinking, the language of modern Western art as aweapon deconstruction inherent in the grand narrative, questioning and deconstruction of identitystatusofthenarrativeart.1990s,theartistsinthecourseofthegame,toborrowWesternLanguagemature, more in-depth thinking of the narrative art, select and practice, the formation of thesymbolic language of the personal characteristics. Games of this artistic language, underminingthe grand narrative, all within the meaning of the three-dimensional structure and stability ofthe existence of a single word. Different social backgrounds to create a new rule, the languageof incommensurability to highlight their independence and the establishment of the new rules, thepersonal narrative in the legalization of contemporary art, and the three-dimensional structure,so as to move towards legalization.According to Lyotard’s postmodern theory Grand Narrative questioned the legalization ofsmallexpositionofthenarrativeconstruction,andtheestablishmentofreasonpersonalnarrativein Chinese contemporary art, build, and characterization process is discussed in order to clarifythecontemporaryartscomplex,ishowtopresentthefirst,afterthefoundingofartgrandnarrativemode of existence and characteristics of the analysis and description; deconstruction ofcontemporary art language games in the former mode, and then proposed the legalization ofContemporary Art the personal narrative again discussed in detail how to build their ownlegalization of personal narrative in contemporary art. focused on process personal narrative ofcontemporaryartfromthe grandnarrative narrative,whichisthereasonwhylegallegalization of reasons. The social background of the process of argumentation, different frame of referencegrand narrative, from the explicit implicit contrast to the background, taking into account thelegal process and personal narrative to say because the combination of theory and strive to makea clear expression.Thispaperisdividedintothreechapters.ThefirstchapterintroducesLyotardnarrativetheory,combingthetheoreticalpointofview,narratologicaldistinctionspapersready.Thesecondchapterfirst introduces the New Chinese Art grand narrative mode, there is a reason and performancecharacteristics, formulation of reform and opening up, Chinese artists to express questioninggrand narrative of Western modern art reference, criticism and subversion. Construction andlegitimize the argument theory Chapter personal narrative paved the way. Chapter Lyotard’spost-modern theory of knowledge and analysis of contemporary art personal narrative personalnarrative artistic representation of construction and artist Xu Bing’s personal narrative as anexample of the regularization parameter. Reflect the state of contemporary art in the grandnarrative deconstruction personal narrative reasonable analysis of contemporary art andfunctionrestrictions.ThedifficultyisthatLyotard’stheoryofnarrativemethods,combinedwiththe existing materials in the complex contemporary art, contemporary art personal narrativediscussion how to construct a reasonable and future direction of development and significance.