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六十年代初,江南画坛崛起了傅抱石为首的金陵山水画派。以“一手伸向生活,一手伸向传统”为旗帜,创作出一批富于时代气息和民族特色的作品。 八十年代以来,改革开放的大潮强化了人们的主体意识。面对西方现代艺术的冲击。画家们对既往创作模式和传统艺术进行反思。在这过程中,中青年画家一度出现三股流向:一股陷入民族虚无主义,倾向“全盘西化”;另一股固守原有程式,以不变应万变;再一股则冷静地总结历史经验教训,深入研究民族传统,
In the early 1960s, Jiangnan Painting School raised the Jinling landscape school headed by Fu Baoshi. With “one hand to life, one hand to the traditional” banner, create a batch of rich flavor of the times and national characteristics of the work. Since the 1980s, the tide of reform and opening up has strengthened people’s subjective consciousness. Facing the impact of Western modern art. Painters reflect on past creative modes and traditional arts. In the process, young and middle-aged painters once appeared in three streams: one fell into national nihilism, tended to “turn westernization”; the other stuck to the original program in order to maintain the status quo; another share calmly summed up historical experience Lessons, in-depth study of national traditions,