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1957年是我国现代美术向集团化方面转化的一年.韩国美术史上从来没有的集团化运动,为什么以五七年为起点而产生?它的社会背景又是什么呢?我想首先阐明一下这一点。当时同族之间相残的伤痕还没有完全平愈,社会处于极度混乱的独裁政治体制下,人们没有什么可期待,只能在绝望中挣扎,也就是说它是这种社会现象带来的结果。这时我们画坛上只有政府主导下的国展,这是作者们唯一指望的“登龙门”的途径。反对或对抗派別的存在是想也不敢想的事情,这不是说政府以制度来限制你,而是僵化的社会本身就不容许这样做,同时在国展上起主导作用的势力派们对其它派別的排斥也是事实.结果国展所信奉的现实主义,就成为我国美术界唯一的价值观并占优势,别的美学和表现形式都被排斥在外,所以当时提出反国展宣言是想都不敢想的事情。同国展所指向的信念和价值观虽然一致但被主导势力挤出的一部分作者们也经常受到批判,他们不是为了国展的发展,或者是为
1957 is a year in which the modern art of our country transformed into a collectivization.However, the collectivizing movement never found in the history of Korean art came into being from the beginning of 1957. What is its social background? I would like to clarify this first a little. At that time, the scars between the same ethnic groups were not completely flattened yet. Under the extremely chaotic dictatorial political system, there was little hope that people could only struggle in despair, that is to say, it was the result of this social phenomenon . At this moment, there is only the government-led national exhibition in our art scene, which is the only way for the authors to count on the goal of “getting to the goal.” It is not that the government restricts you through the system, but that the rigid society itself can not allow it. At the same time, the factions that have played a leading role in the international fairs have expressed their opposition to or opposing factionalism. The rejection of other factions is also a fact.As a result, the realism enshrined in the exhibition has become the only value of the art world in our country and prevails, and other aesthetics and expressions have been excluded. So at that time, Dare to think of things. While consistent with the beliefs and values that the show refers to, some of the writers who are dominated by dominant forces are often criticized either for the development of the national fair or for