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大型泥塑《收租院》在中国雕塑史上是一件非常重要的作品,它以鲜明地反映阶级斗争的政治内容和一些独特的艺术表现形式,在历史上产生广泛影响,不仅成为社会主义文艺作品成功的典范,也成为世界雕塑史中的重要作品。20世纪90年代之后,当人们以平和的心态重新审视这件作品时,当年那种极“左”的政治色彩渐渐远去,而长期被遮掩的艺术价值和历史文物价值逐渐呈现出来。甚至有人将它视为中国现代主义艺术并具有原创性和独创性而给予高度评价;认为它是一件典型的“后现代”艺术作品。其实,泥塑《收租院》的真实情况不过是极“左”路线的宣传工具而已,与现代和后现代无关。我们今天重新对它回顾与思索,会有一种全新认识和正确判断。
The large-scale clay sculpture “rental house” is a very important work in the history of sculpture in China. It has made a wide-ranging historical impact by clearly reflecting the political content of class struggle and some unique forms of artistic expression. It has not only become a socialist literary and art work The example of success has also become an important work in the history of sculpture in the world. After the 1990s, when people re-examined this work in a peaceful manner, the political features of the “Leftist” went away gradually. However, the art value and historical relics that were obscured for a long time gradually became apparent. Some even think of it as the Chinese modernist art with its originality and ingenuity and highly praised it; it is a typical “postmodern” art work. In fact, the real situation in clay sculpture “renting homes” is nothing more than a propaganda tool for the “Left” line, which has nothing to do with modernity and post-modernism. As we review and think about it again today, we will have a new understanding and correct judgment.