论文部分内容阅读
与周济祥先生初识是在1972年的湘潭。那是他随省剧团下放到新宁后,又被调到湘潭地区文化馆的第二年。先生当时刚过不惑之年,我则是才参加工作的十几岁小伙子。在那非常的年代,艺术创作推行“三结合”模式——领导出题目,工农兵出生活,专家参与技术辅导。先生是以专家兼组织者来辅导我们这些业余美术爱好者搞版画创作的。几乎每年我们都有一个多月在一起创作和生活的时候。先生给我们的印象是对工作极其严肃负责,对作品的每一个环节都很“较真”,甚至到了“刻薄”的程度。当我们的作品被领导通过后,刚有点松口气的感觉,他却毫不留情地指出存在的毛病:
The acquaintance with Mr. Zhou Ji Xiang was in Xiangtan in 1972. It was the second year after he was transferred to Xinning from the provincial theater company and transferred to the Xiangtan Cultural Center. At that time, Mr. just had a puzzled year, and I was only a teenage boy who took part in the work. In that very era, the art creation promoted the mode of “triple combination” - leading the title, leaving the workers, peasants and soldiers, and experts participating in technical counseling. Mr. is an expert and organizer to guide us amateur art lovers engaged in the creation of the print. Almost every year we have more than a month together to create and live together. Our impression to us is that we are extremely serious and responsible to our work and that we are “more serious” in every aspect of our work, even to the extent of “mean.” When our work was led by the leadership, just a little feeling of relief, he mercilessly pointed out the existence of the problems: