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回看1949年建国后的中国当代美术史,在其蓬勃发展的过程中,我们不难发现一个值得探讨的问题,或者说一个很有意思的现象:主流美术在其发展的各个阶段,对少数民族题材绘画的认可与迷恋。这种认可与迷恋不仅表现在主流美术对少数民族命运生活的关怀与接纳上,更表现在主流美术的少数民族化方面。
Looking back at the history of Chinese contemporary art after its founding in 1949, during its vigorous development, it is not difficult for us to find a question worth discussing or an interesting phenomenon: In its various stages of development, mainstream art criticizes the ethnic minorities The subject of painting recognition and fascination. This recognition and infatuation is not only reflected in the concern and acceptance of mainstream art for the fate of ethnic minorities, but also in the minority nationalities of mainstream fine arts.