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韩美林是“文革”后复出的美术家,也是改革开放30年最能体现新时期中国艺术创造活力的艺术家。新时期伊始,中国美术的首要任务是着手于美术本体的恢复,让曾经被打为“封、资、修”的中国画、油画和已经沦为政治传声筒的美术创作回归到艺术创作的自身规律上来。那是一个对视觉审美饥渴的年代,也是一个对视觉审美呼唤与重建的年代。复出后的韩美林正是以其对形式美的追求与探索而凸显了时代对于美的觉醒。上世纪80年代中期,随着新时期国门的打开,西方现代主义美学观念与艺术思潮洪流般地涌入,中国开始了20世纪继五四云动之后又一次大规模的向两方文化艺术学习与引进
Han Meilin is an artist returning from “Cultural Revolution” and the most capable artist in the 30 years of reform and opening up to reflect the vitality of Chinese art in the new era. At the beginning of the new period, the primary mission of Chinese fine arts was to resume the restoration of fine art, so that Chinese paintings, oil paintings, and fine art creations that had been labeled as “seals, capital and repairs”, had been turned back to the artistic creation itself Regularity. It was an age of hunger and thirst for visual aesthetics, but also an era of visual aesthetic appeal and reconstruction. After returning from the United States, it is precisely because of its pursuit and exploration of formal beauty that highlights the awakening of the times for the United States. In the mid-1980s, with the opening of the national era in the new era and the influx of Western modernist aesthetics and artistic ideas, China began another large-scale study of culture and the arts after the May 4th Incident in the 20th century With the introduction