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前记本文或许要成为当代中国美术史上一篇涉及二十世纪最让人关注作品之一《流民图》,而在发表上又一波三折极具戏剧性的文章。在《中国书画报》以连续五个月十数篇文章对抗战时期蒋兆和《流民图》的政治性质进行尖锐的针锋相对的辩论之后,在《流民图》因笔者对其抗战时期尴尬失节背景的揭露而被取消参加二○一五年国家庆祝抗战胜利暨反法西斯战争胜利七十周年美术展览之后,北京著名美术杂志《中国××》向笔者
The preface to the text may be one of the most influential works of the 20th century in the history of contemporary Chinese art, the “migrant figure”, which is published in another wave of dramatic articles. After the “China Pictorial Daily” published sharply tit-for-tat debates over the political nature of Jiang Zhaoxu and the “Migrant People” during the War of Resistance Against Japan for the first time in five consecutive months and over ten articles, After being canceled to participate in the art exhibition of celebrating the 70th anniversary of the victory of the Anti-Japanese War and the Anti-Fascist War in 2015, Beijing Well-known art magazine “China XX”