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1950年至1965年间,中国美术界流行两个具有强烈政治倾向的概念:人民美术和民族美术。这两个概念表现出对传统和现代的建设性态度,即如何建立具有民族特色的社会主义美术。伴随概念的学术演进,一个形式创新的过程也在展开,历史明确地推选徐悲鸿、齐白石、黄宾虹、潘天寿为不同的倾向性要求的代表。郑工的文章就此问题进行了系统而深入的探讨,所论颇有见地。胡光华、孙恩乐的文章提示了史贝霖在中国油画早期发展过程中的意义,即他的出现意味着清代南方架上油画的真正崛起,因此也加快了西画东渐中国的速度。在美学和美术史论研究领域,汤麟教授做了“把维纳斯请到人间”的大量工作,于美育和艺术的普及化事业多有贡献。主持人/徐琛
Between 1950 and 1965, two notions of intense political orientation prevailed in Chinese art: popular art and national art. These two concepts show a constructive attitude towards tradition and modernity, that is, how to establish a socialist art with national characteristics. Accompanied by the academic evolution of concepts, a process of formal innovation is also taking place. Historically, Xu Beihong, Qi Baishi, Huang Binhong, and Pan Tianshou are representative of different tendentious demands. Zheng Gong’s articles on this issue conducted a systematic and in-depth discussion, the theory quite insightful. The articles of Hu Guanghua and Sun Enle suggest the significance of Schopenhauer in the early development of Chinese oil painting. That is, his appearance means the real rise of oil painting in the south of the Qing Dynasty, and thus accelerating the speed at which western painting moved eastward. In the field of aesthetics and art history research, Professor Tang Lin has done a great deal of work “Inviting Venus to the World,” contributing more to the popularization of aesthetic education and art. Host / Xu Chen