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在20世纪50年代的文化与历史背景下讨论新山水画的课题,本身具有特殊的社会语境,也关涉到相应的美术史方法论的转型问题。以山水画在笔墨与图式上的变革为例,传统语义中“江山”的含义在此时已经发生了微妙的转变:一方面是山水画家的纸上造境,描绘山水造化与时代新景;而另一方面,更寓含着国家政权与土地疆域,标示着一个新纪元的到来。从围绕山水画的论争文献,到特定时代美术思潮影响下的山水画创作,这一时期的中国画创作在反思、整合的宏观语境下踯躅
Discussing the topic of new landscape painting in the cultural and historical context of the 1950s itself has a special social context and also involves the corresponding transformation of the methodology of art history. Taking the transformation of landscape painting in ink and graphic as an example, the meaning of “Jiangshan” in the traditional semantics has undergone a subtle transformation at this time: on the one hand, the landscape painter’s papermaking environment depicts the landscape creation and the new era King; on the other hand, more contains the state power and land territory, marking the arrival of a new era. From the controversial literature around the landscape painting to the landscape painting under the influence of the art trend of thought in a particular era, the Chinese painting creation in this period is confused under the macro context of reflection and integration