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20世纪60年代初,在《人民日报》文艺部工作的徐启雄,因在绘画领域创下的辉煌成绩,成为当时“全国画界最红的青年画家”之一,被画界评论家称赞为“现代美人画的奠基人”……可是,突然间的一场政治风波,他转眼竟成为全国美术界第一个“反面典型”。紧接着,他被调离人民日报社,又调离北京。这种变化是在什么样的形势下发生的?徐启雄又是在什么样的状态下被批判的?而这种打击对他来说,究竟是祸是福?
In the early 1960s, Xu Qixiong, who worked in the Department of Literature and Art of the People’s Daily, became one of the “red-hot young painters in the Chinese painting circles” because of his brilliant achievements in the field of painting. He was praised by critics in the painting sector as “ However, a sudden political storm, he turned out to be the first ”negative example" of the fine arts world. Then, he was removed from the People’s Daily and again transferred from Beijing. In what kind of situation did this change happen? Under what kind of state was Xu Qixiong being criticized? And for such a blow to him, what a blessing?