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本文以上海书画出版社自1981年至2008年出版的《朵云》丛刊为研究对象,考察该刊出版27年间所经历的不同时期办刊主旨与特点,以期梳理这本丛刊所记载的新时期以来中国画坛研究史料的多重脉络。进而揭示新时期以来中国画坛形成的百变面貌。特别是在改革开放大潮下,西方文化艺术涌入国门,美术界一度对传统文化进行批判,而后又重新认识和发现,终于敞开了艺术视野,张开了思想羽翼,促使美术研究领域的百家争鸣,带动起中国画坛创作与理论研究的振兴。在这一历史进程中,《朵云》丛刊有着时代赋予的鲜明个性与发展成绩,成为新时期以来中国画坛变革历史的重要见证。尤其是伴随着新时期中国画坛的成长,并在国内外美术史学界产生较大的影响力。可以说,《朵云》丛刊已不是一本普通的美术刊物,而是一部别样的中国当代美术史的重要文献。
This article takes the “Duyun” series published by Shanghai Painting and Calligraphy Press from 1981 to 2008 as the research object, examines the theme and characteristics of the journal in different periods of its publication for 27 years, in order to sort out the new period recorded in this series Since the Chinese painting research multiple sources of historical data. Thus revealing the ever-changing Chinese painting scene since the new era. In particular, under the tide of reform and opening up, Western culture and art influx into the country. Once the traditional art was criticized by the art world, and then re-recognized and discovered, it finally opened up the artistic field of vision and opened up the wings of thought to promote a hundred schools of thought in art research. Revitalizing Chinese Painting Creation and Theoretical Research. In this historical process, the series of “Duyun” has the distinct personality and achievements of the times, and it has become an important witness to the history of the reform in Chinese painting and calligraphy since the new era. Especially with the growth of the Chinese painting society in the new period, it has also had a great influence in the field of art history at home and abroad. It can be said that “Duyun” series is no longer an ordinary art publication, but an important document in the history of contemporary Chinese art.