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谈方济众先生,不能不谈长安画派,也不能不涉及长安画派的另外两位巨子赵望云和石鲁先生。 1961年,一群自抗战以来先后汇集于西安的画家在北京向中国画坛展示了他们长期艰苦探索,而于五十年代末取得重大突破的艺术实验。毫无疑问,这个画家群体是以生机勃勃的革新者的姿态步入画坛的,他们的实验开创了中国绘画前所未有的全新格局,因而理所当然地引起了一批画家的反对。人们提出了种种质疑,并把这个当时人们还难以接受的群体命名为“长安画派”。由艺术上的怀疑者、反对派发难而得名的画派,世界上向来不乏先例。只要他们开拓了新的审美领域,预示着艺术发展的新转机,并把自己的发现推上应有的历史文化品位,就会成为艺术史上推不倒的开时代风气的先行者,尽管作为社会意识大变动的产物,他们往往并不知道自己已经写下了新的历史篇章。
On Mr. Fang Jizhong, we can not but talk about the Chang’an School of Painting and the other two giants Zhao Wangyun and Shilu who are involved in the Chang’an School of Painting. In 1961, a group of painters who had gathered in Xi’an since the War of Resistance displayed in Beijing the Chinese art scene with painstaking exploration of their long-term exploration and major breakthroughs in the art experiment in the late 1950s. Undoubtedly, this group of painters stepped into the painting circles with vigorous innovators who, as their experiments, created an entirely new pattern of Chinese painting, thus aroused the opposition of a group of painters. People raised questions of all kinds and named the “Chang’an School of Painting” a group that was still unacceptable to the people at that time. There have always been no precedents in the world drawn from art-based skeptics and schools of painting named after the opposition’s assault. As long as they open up new fields of aesthetics, heralding a new turning point in the development of the arts and pushing their own discoveries to the proper historical and cultural taste, they will become pioneers in pushing the trend of the times in the history of art in spite of being socially conscious They often do not know that they have written a new chapter in history.