“石鲁现象”的意义 作为一名奇才怪杰,石鲁曾经对二十世纪中叶的中国画坛产生过巨大的影响。尽管与他同时还有若干名优秀的大师们在活跃着,可却无一人能象他那样从一开始就招致了毁誉参半、褒贬不一的评价而最终又令人产生内心的膺服的。就其对旧传统的冲击力和具有争议的创造性来说,石鲁无疑是以他那特立独行的强烈个性而起了振聋发聩的作用。 石鲁是在五十年代末挟带着他的那些作品崛起于中国画坛的。初出伊始,就引起了美术界的极大反响,报刊上一片哗然,惊愕地注视着这位奇才怪杰。当时即有人将他和另几位独辟蹊径的创新画家傅抱石、李可染等人归为一类,讥讽地称之为“野、怪、乱、黑”,虽然是共指,可在大家的眼中,大都是偏指石鲁,后来就索性成了石鲁一人的代名 The Significance of “Shi Lu Phenomenon” As a brilliant geek, Shi Lu once had a tremendous influence on the Chinese painting circles in the mid-20th century. Although there are a number of excellent masters who are active with him, none of them can, like him, lead to a mixed and mixed evaluation from the very beginning, which in the end can give rise to an inner charge. For its impact on the old traditions and its controversial creativity, Shi Lu undoubtedly played the role of a deafening man by his maverick personality. Shiru, who brought him with him at the end of the 1950s, emerged from the Chinese painting scene. The beginning of the beginning, has aroused great repercussions of the art world, an uproar in the press, stared in amazement at the Wizards geeks. At that time, some people called him and other creative painters Fu Baoshi and Li Keran, who were creative in their own way, as a category that ironically referred to as “wild, strange, chaotic and black” Mostly refers to Shi Lu, then simply became a synonym for Shi Lu