新中国成立后,艺术进入了大发展时期。西方的封锁和中国的独立政策,使文化与艺术进入与外界相对隔离的状态。美术方面,延安革命、文艺传统、苏俄现实主义和徐悲鸿学派写实样式合为一种新的正统模式。在“改造中国画”的口号下,通俗、写实、有教育意义、正面歌颂的人物画成为中心,对山水画则提倡以写生来描绘祖国的新面貌。对新社会抱着真诚期望的画家们,纷纷上山下乡,将建筑工地、地质勘探、森林伐木、农田劳作、革命圣地纳入山水风景之中。不少画家放弃了临摹,通过实地写生对山水画的程式、新意境和笔墨进行了改造,还有的用传统形式描绘新内容,画了大量“旧瓶新瓶”式的作品。六七十年代古今山水画都被否定,直到80年代,艺术家们才逐渐获得了创作与借鉴的充分自由,山水艺术也有了很多的成绩。 After the founding of new China, art has entered a period of great development. The blockade of the West and China’s independent policy have brought culture and art into relatively isolation from the outside world. Art, the Yan’an Revolution, literary tradition, realism in Russia and Xu Beihong school realistic style as a new orthodox model. Under the slogan of “Transforming Chinese Painting”, the portraits of the people who are popular, realistic, educational and positive praise become the center, while the landscape paintings advocate sketching to depict the new look of the motherland. Painters who hold sincere expectations for a new society have gone up the mountain and went to the countryside to bring the construction sites, geological exploration, forest logging, farm work and revolutionary holy places into the landscape. Many painters abandoned the copying and transformed the programs, new artistic conceptions and pen and ink of landscape painting through field sketch, while others painted new content in traditional forms and painted a large number of works of “old bottles and new bottles”. In the 1960s and 1970s, ancient and modern landscape paintings were denied. Until the 1980s, the artists gradually gained full freedom to create and learn from each other. The landscape art also had many achievements.