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20世纪三四十年代,国画与西洋画在中国美术界激战正酣,靳之林就是其中“油画民族化”写实主义阵线的青年战士。之后,中国革命文艺长久熨烫着身陷水深火热的国人的灵魂,也驱使靳之林两赴延安,完成《毛主席在大生产运动中》和《南泥湾》等划时代作品。党的十一届三中全会以后,为响应“提高全民族文化素质”、“弘扬民族文化”的号召,靳之林投身中国民间艺术的挖掘与保护,他主持完成了陕北地区的民间剪纸艺术普查,并将剪纸推向世界……听靳之林先生娓娓讲述他的人生,就像翻开了一部中国近现代美术史。
In the 1930s and 1940s, traditional Chinese painting and Western painting fought a fierce battle in the art world in China. Jin Zhulin was one of the young fighters in the “nationalization of oil painting” realism. After that, the Chinese revolutionary literature and art continually pressed the souls of the traumatized people in Yan’an and drove Jin Zhilin to go to Yan’an to finish epoch-making works such as Chairman Mao’s Campaign in Mass Production and Nanniwan. After the Third Plenary Session of the 11th CPC Central Committee, in response to the call of “improving the cultural quality of the whole nation” and “promoting national culture,” Jin Zhulin devoted himself to the excavation and protection of Chinese folk art. He presided over the completion of the Folk paper census, and the paper-cut to the world ... Listen to Mr. Jin Zhulin tells his life, like opened a Chinese modern art history.