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只要清理近现代中国美术史发展的线索,我们并不难发现:自1919年五四运动爆发以来,每当中国大陆发生重大的政治变化,都必然要引起水墨画改革的大讨论、大变化。如新中国成立、“大跃进”、“文革”……莫不如此。而1978年中共十一届三中全会的召开,再度引起了大陆水墨画界对这个敏感话题的大讨论。由于在当时,经济与科学的现代化成了全社会关注的中心。因此,好长时间里,“现代性”都成了大陆相当多的水墨画家坚持的一个基本理念。实际上,大陆的水墨画转型不仅以建设现代社会和呼唤现代思想为前提,而且相对台湾与香港出现的现代水墨探索,几乎晚了30年。如同台湾与香港出现的现代水墨探索一样,大陆的现代
As long as the clues to the development of modern Chinese art history are cleansed, we can easily find out that since the May Fourth Movement broke out in 1919, major political changes in mainland China must inevitably lead to great discussion and great changes in the reform of ink and wash paintings. Such as the founding of New China, “Great Leap Forward ”, “Cultural Revolution ” ...... Not so. However, the convening of the Third Plenary Session of the Eleventh Central Committee in 1978 once again aroused great discussion on this sensitive topic from the mainland ink painting circles. Because at that time, the economic and scientific modernization became the focus of the whole society. Therefore, for a long time, “modernity” has become a basic concept that a considerable number of Chinese ink painters adhere to. In fact, the transformation of the ink painting in mainland China not only premised on the construction of modern society and calling for modern thinking, but also almost 30 years after the modern ink and ink exploration in Taiwan and Hong Kong. Like the modern ink and wash exploration in Taiwan and Hong Kong, the mainland is modern