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出于众所周知的原因,从上一世纪的60年代一直持续到80年代,所有的经典,积淀深厚的传统艺术也好,本来就知之甚少的西方艺术也好,都被不同程度地意识形态化了,很难谈得上什么纯艺术意义上的借鉴和创新。如果说中国美术的发展在这一阶段所走的弯路足以让我们深刻反省艺术的本质,那么这种局面改变之后人们创作心态的调整和变化出现的两种极端更值得我们冷静的思考和判断,某些艺术家也许受惯性影响,不能调整自己的艺术观,艺术教育和艺术创作上思维单一、思
For a well-known reason, from the 60s of the last century until the 1980s, all the classic and profound traditional art, or the western arts that had little understood, were all ideologically shaped by different degrees It is difficult to talk about what the pure artistic significance of reference and innovation. If the development of Chinese art at this stage of the detour enough to allow us to deeply reflect the essence of art, then the situation changes after the adjustment of the creative mindset and changes in the two extremes deserve our calm thinking and judgment, Some artists may be affected by inertia, can not adjust their own view of art, art education and artistic creation of a single thinking, thinking