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四川画派作为20世纪80年代初期在国内产生巨大影响力的画派之一,由其所开创的“伤痕绘画”和“乡土现实主义绘画”在当今艺术圈依然闻名遐迩,一度引领着中国当代油画发展的潮流。如今四川画派为人们所熟知,已经不再仅仅是作为一个著名油画群体存在,而是跨越地域跨越绘画领域延伸成为了一种艺术符号、一种文化现象。我们从人性的角度出发去分析四川画派在那个特殊年代里两个时期作品的风格特点及蕴含的精神内涵,现在反观“文革”后的文艺界,不论是“伤痕绘画”还是“乡土现实主义绘画”无不是建立在群众的基础上剖析社会的伤痛点。假使“伤痕绘画”是对社会所存弊病提出反思与批判,那么紧接着随社会环境改变而出现的“乡土现实主义绘画”就是把从对社会的大层面的问题转向普通人群,作品流淌着对底层人民的关注和同情。
As one of the most influential painting schools in the country in the early 1980s, Sichuan Painting School is still famous for its “Scar Painting” and “Local Realist Painting” in today’s art circle. Once, Lead the trend of contemporary Chinese painting development. Nowadays, the Sichuan School of Painting is well-known. It no longer exists merely as a famous oil painting group, but extends across the territory and across the field of painting as an artistic symbol and a cultural phenomenon. From the perspective of human nature, we analyze the style and spirit of the works of Sichuan School during the two periods in that particular era. Now we can see the literary and art circles after the “Cultural Revolution”, whether it is “Scar Painting ” or “Local Realist Painting ” is nothing more than based on the masses to analyze the pain points of society. If “Scar Painting ” reflects and criticizes the shortcomings of society, then the “local realist painting” appearing as the social environment changes is to shift from a large-scale social problem to the general population. Works Flowing with the people’s attention and sympathy.