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中国艺术谱系从20世纪70年代末期的“伤痕美术”到“乡土现实”的相继出现,它反映了在改革开放初期艺术被“文革”长期禁锢后的文化复苏。在这一时期艾轩《保卫》、罗中立《忠魂曲》、程丛林《1968年X月X日雪》、王川《再见吧,小路》等作品都呈现出告别过去迎接新时代到来的面貌,表达出对历史以及社会事件的公正与良知、痛惜与疑问的复杂情感。“伤痕美术”是对那一时代集体、社会、文化的反思,并且是在精神感情世界上烙下的历史疤痕。“乡土现实”则是对改革开放后
The emergence of the Chinese art pedigree from “Scar Art ” to “Local Reality ” in the late 1970s reflects the cultural recovery after being imprisoned for a long time in the “Cultural Revolution” in the initial stage of reform and opening up. In this period, Ai Xuan “defending”, Luo Zhongli “allegory”, Cheng Conglin “X month X snow in 1968”, Wang Chuan “good-bye, path” and other works have shown a farewell in the past to meet the new era of appearance, To express the history and social events of justice and conscience, deploring and doubt the complex emotions. “Scar Art ” is a reflection of the collective, social, and cultural era, and is a history of scarred in the emotional world. “Local reality ” is after the reform and opening up