论文部分内容阅读
我认为,从本世纪初开始,中国的美术院校从出现、普及并成为中国美术教育的主要途径与美术专门教育的唯一途径以来,其中国画教学基本上是失误的,其理由反映在几个根本问题的失误之上,现简述于下。 首先,对绘画观念的阐释、判断及引导方面与绘画原则的确立方面,是建立在“中国文化即封建落后、保守没落、一无是处”的大前提之下的。由于资产阶级旧民主主义革命思想的影响与这场革命的不彻底性,加之它那建立资产阶级统治的资本主义社会这一目的性,因而,在文化上采取了实际上是彻底否定国学与全盘西化的基本方针政策,软弱且书生气十足的资产阶级将中国社会的疲弱嫁祸于传统文化,并将这一法宝传给了后代。后来,由于新民主主义革命的胜利,虽然在对民族文化的态度与方针政策上作了一些根本性的改造和调整,但由于百业待兴,加之已推行数十年的教育积淀造成的“西化”影响与诸多内乱外困因素之干扰,有关中国
I think that since the beginning of this century, Chinese art schools have basically made mistakes in teaching Chinese painting since they emerged, popularized and became the main way for art education in China and specialized art education. The reasons for this are reflected in several Above the mistakes of the fundamental problem, are summarized below. First of all, the interpretation of the concept of painting, judgment and guidance and the establishment of principles of painting are based on the premise of “Chinese culture is feudal backwardness, conservativeness and decline, nothingness”. Because of the bourgeois influence of the old democratic revolution and the incompleteness of this revolution, together with its purpose of establishing a capitalist society under the rule of the bourgeoisie, it is culturally necessary to actually deny sinology and the whole The basic principles and policies of Westernization. The weak and bookly bourgeoisie has blamed the weakness of Chinese society on traditional culture and passed on this magic weapon to future generations. Later, thanks to the triumph of the new-democratic revolution, although some fundamental changes and adjustments were made to the attitudes and principles and policies of the national culture, due to all-round progress and combined with the “Westernization” caused by the decades of educational accumulation "Influence and interference with many factors of internal strife and foreign interference in China