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与中国社会的大背景一致的是,中国美术史上的20世纪是变化最人、最为复杂、最难以概括的时期。但是在这个繁杂现象的背后,我们却可以看到一条几乎一以贯之的主线:功利性特征。从艺术活动目的的角度看,虽然五花八门,其中包括少数艺术家顽强坚持的纯粹的为艺术而艺术的目的,然而与同期西方美术相比较,焦点并不是一直集中在艺术观念的转换和新形式的创造等较为纯粹的层面,更多是将美术作为实现社会价值的一种途径。简言之,美术活动之目的,主要并不在于作品自身,而在于作品对社会或个人的功用。这种功利性在不同时期和不同群体中又有不同表现,人体上主要有以下几种:为社会政治、为个人功名、为经济目的、为生存目的。
In line with the general background of Chinese society, the twentieth century in the history of Chinese fine arts is the most diverse, the most complex and the most difficult one to generalize. But behind this complex phenomenon, we can see an almost consistent principle: utilitarian features. From the perspective of the purpose of art activities, though varied, including the purpose of pure art for art adhering to by a few artists, the focus is not always on the conversion of artistic concepts and new forms of creation More purely level, more is the art as a way to achieve social values. In short, the main purpose of art activities lies not in the work itself, but in the function of the work to society or individuals. This kind of utilitarianism has different manifestations in different periods and different groups. There are mainly the following kinds of human bodies: for social politics, personal fame, for economic purposes and for survival purposes.