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又见俄罗斯画展,又见那熟悉的名家作品,中国观众在感到亲切的同时,又有一丝久违的惊异和隔膜。中国与俄罗斯绘画的联系,或者说俄罗斯绘画对中国的影响一度是那么紧密、那么强烈,以致在老一辈画家的心中形成一个解不开的“俄罗斯情意结”。应该承认,我们过去对俄罗斯绘画的吸收和借鉴是局部的、片面的,仅仅是俄罗斯绘画史上的一个阶段性现象,或者说只是作为一个绘画流派的“现实主义”绘画被我们无限拔高、无限放大,以致造成了唯其独尊,罢黜百家的迷信景象。我们知道,在苏联难有生路的康定斯基、马列维奇、夏加尔在西方乃至世界现代艺术史上享有崇高的地位。这次来华的“俄罗斯绘画艺术300年”画展也向我们全面展示了从俄罗斯早期油画到巡回展览画派,从20世纪初的先锋派绘画到近年的新人新作在内的完整的俄罗斯绘画面貌。这个展览能带给我们审美的愉悦,也能丰富我们的艺术史知识,更可促使我们进行自我反思。消除偏见、避免狭隘是国际文化交流的最终目的,也是我们对待古今中外的一切文化成果的应有态度。
See also the Russian art exhibition, see also the familiar famous works, Chinese audience feel kind at the same time, there is a trace of a long absence and surprise. The connection between Chinese painting and Russian painting, or the influence of Russian painting on China, was so close and so intense that a “Russian affection” was formed in the hearts of the older generation of painters. It should be admitted that our past assimilation and reference to Russian painting is partial and one-sided, a mere staged phenomenon in the history of Russian painting, or that “realistic” painting as a school of painting is infinitely inflated and infinitely enlarged by us , Resulting in the only superstitious image of the only one hundred families. We know that Kandinsky, Malevich and Chagall, who have had no choice in the Soviet Union, enjoy a high status in the history of modern art in the West and even in the world. The “300 Years of Russian Painting Art” exhibition in China also showed us a complete picture of the complete Russian painting from the early Russian oil painting to the roving exhibition art school, from the avant-garde paintings of the early 20th century to new works by the newcomers in recent years . This exhibition can bring us the aesthetic pleasure, but also enrich our art history knowledge, but also prompt us to self-reflection. To eliminate prejudice and avoid narrowness is the ultimate goal of international cultural exchanges and it is also our attitude to treat all cultural achievements at all times and in all places.