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四、发展(1979—1996) 70年代末以来,随着十年浩劫的结束和党的三中全会的召开,对文革时期“极左”思潮造成的灾难性后果进行了“拨乱反正”,使一场思想解放运动席卷全国,拨开了笼罩在中国大地上的重重阴云,迎来了艺术的春天。对历史的惨痛反思使广大艺术家认清了政治代替艺术和艺术家失去“自我”的深刻教训,成为大多数油画家的共识。很快画家们以自己的创作实践冲破了阻碍艺术发展的重重禁区和种种“左”的清规戒律,开辟了艺术创造的新天地,有如骤雨向干涸的土地上倾泄,给中国的油画事业带来了新的转机。
IV. Development (1979-1996) Since the end of the 1970s, with the end of the decade catastrophe and the holding of the Third Plenary Session of the Party, “disarrangement and disarray” have been carried out on the catastrophic consequences of the “ultra leftist” ideological trend of the Cultural Revolution so that one The ideological emancipation movement swept across the country, setting aside a great dark cloud that shrouded in the land of China and ushered in the spring of art. The bitter reflection on history made the majority of artists recognize the profound lessons of politics replacing art and artists’ loss of “ego” and became the consensus of most oil painters. Soon the painters broke through the various restricted areas and all kinds of “leftist” rules and regulations that hindered the development of the arts with their own creative practice, opened up a new world of artistic creation like a shower of rain that dumped the dried up land and brought the cause of China’s oil painting A new turning point.