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成语道:“瞻前顾后”,这正是我们在每一个新旧年交替之际惯常所要做的事情。当中国美术史的车轮驶进一九九七年,如何评定我们前此所为,如何认识我们此后所应为,就成为一个重大话题。为此,本刊编辑部特别约请了老一辈艺术家和艺术史家就此话题进行笔谈。凭着对中国美术事业的热爱,凭着自己多年献身艺术和学术的丰富经历,他们道出了自己的心声。对中国美术发展中呈现的创作繁荣、新人辈出的局面,他们感到由衷地欣喜,对特定历史条件下造成的一些不良倾向,他们又怀着深深的关切和忧虑。他们提醒艺术家不要忘记自己的社会职责,热情鼓励艺术家要贴近社会和自然。他们还就美术史论建设中的成就和问题以及对外来文化的吸收和融合发表了意见。这一切,对于我们今天正在从事美术创作和美术理论研究的人来说,都具有重要意义。被邀请的前辈艺术家、学者还对本刊提出了希望和要求,我们将此视作莫大的鞭策和鼓励。在此,我们编辑部全体向老一辈艺术家、学者表示衷心的感谢。 针对同一话题,本刊主编邓福星先生以严谨的理论作了鸟瞰式分析。“三极对峙”理论的提出,是对八十年代中期以来中国美术发展的历史性概括与总结。他指出,中国美术创作在九十年代出现形式转向,而这一历史现象主要导因于艺术自身的发展规律、创作者的
Idiom: “looking ahead,” which is what we normally do at every new age. When the wheel of Chinese art history drove into 1997, it is a major issue how to assess what we did before and how to recognize what we should do from now on. To this end, the editorial department specifically invited the older generation of artists and art historians to write on this topic. With their love of Chinese art and their rich experience of devoting themselves to art and learning for many years, they made their voices heard. They are really delighted with the flourishing creation and new generation people in the development of Chinese art. They are deeply concerned and worried about some of the undesirable tendencies caused by certain historical conditions. They remind artists not to forget their social responsibilities and to encourage artists to be close to society and nature. They also expressed their opinions on the achievements and problems in the construction of art history theory and on the absorption and integration of foreign cultures. All this is of great significance to those who are engaged in the study of fine arts and the theory of fine arts today. The invited predecessors artists and scholars also put forward their hopes and requirements for this magazine, which we regard as a great encouragement and encouragement. Here, our editorial department wholeheartedly thanked the older generation of artists and scholars. For the same topic, our editor Mr. Deng Fuxing made a bird’s eye view of the rigorous theory. The “three-pole confrontation” theory is a historical summary and conclusion of the development of Chinese art since the mid-1980s. He pointed out that in the 1990s, the emergence of Chinese art creations turned to form, and this historical phenomenon was mainly due to the law of art’s own development,