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五、六十年代,陕西文化人树起两杆大旗:以柳青、杜鹏程为代表的陕西作家群;以石鲁、赵望云为代表的长安画派。 七、八十年代,陕西文化人又树起两杆大旗:以贾平凹、路遥为代表的新陕西作家群;以西影厂一批影片为代表的西部电影。 这几面旗帜可以说都从某个方面代表了当时国家级的艺术水准。 当年柳青住在长安县皇甫村时,常在放下美学、心理学的著作之后,趿拉着鞋,提着油瓶,前往集市逛街的情景,似乎还历历在日。柳青已成为陕西文化人艺术上、人格上的楷模,柳青似乎已为陕西文化人的“秦”味奠定了底色和基调。
In the 1950s and 1960s, Shaanxi cultural people took up two banners; Shaanxi writers’ group represented by Liu Qing and Du Pengcheng; and Chang’an School of Painting represented by Shi Lu and Zhao Wangyun. In the 1970s and 1980s, Shaanxi cultural people also started a two-pole banner: a new group of Shaanxi writers represented by Jia Pingwa and Lu Yao; and western films represented by a series of films at the West Film Factory. These flags can all be said from one aspect of the country at the time the level of art. When Liu Qing lived in Huangfu Village, Chang’an County, Liu often put down his aesthetics and psychology writings. After pulling his shoes, carrying oil bottles and shopping at the bazaars, Liu Qing seems to be still living in Japan. Liu Qing has become a cultural and artistic model of Shaanxi’s culture and Liu Qing seems to have laid the groundwork and tone for the “Qin” flavor of Shaanxi’s cultural people.