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刊登和介绍一个附中学生的毕业创作,这恐怕是《美术》杂志创刊52年来的第一次,意义非同小可。在今天,不要说附中,就是美术大专院校似乎也不再重视毕业创作了,即使搞个毕业汇报展览,也都是罗置在校期间一些似创作非创作的随情任意之作,很少再见到列宾、苏里柯夫和“马训班”学员在学业结束前力图全面展示自己学习心得而精心构思的毕业创作。在这种情势下,一位毛头小子的附中学生却认真用心地搞出了一幅毕业创作,这的确令人注目。这幅作品当然还算不上成熟的油画力作,但它对中国艺术院校当前对毕业创作普遍轻视的怠惰精神状态,无疑是会起到一个积极的警醒作用。我们的艺术院校,到底是要培养有真功夫、有真本领、有健康审美理想追求的诚实艺术劳动者,还是要自由放任地去滋养一批一批没有艺术根底,失去美学方向,只会空谈“观念”革命和打着“现代”旗号到处哗众取宠的艺术骗子,这个问题值得深思。
The publication and introduction of a middle school student’s graduation creation is probably the first of its kind in the 52 years since the publication of Art magazine, which is of no great deal. Today, not to mention the middle school, that is, art colleges and universities do not seem to pay any attention to graduation. Even if graduation reports are exhibited, they are also some of the non-creative creations at school. Few I would like to see graduating works elaborately elaborated by the students of Repin, Surikov and “Masanban classes” before they finish their studies. In this situation, a middle-school student with a teddy boy earnestly tried to get a graduation project, which is truly remarkable. Of course, this piece of work is still not a mature masterpiece of oil painting. However, it is undoubtedly a vigilant vigilance against the current state of laziness that China’s art colleges generally underestimate their graduation creations. In the end, our art colleges and universities must cultivate honest art workers who have the true skills, the true skills, the healthy and aesthetic ideal, or are they left free to nourish a group of people who lack the artistic foundation and lose their aesthetic direction and only The issue is worth pondering over the “concept” revolution and the art frauds lurking everywhere under the banner of “modernity.”