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延安的窑洞出马列主义,延安的窑洞也出艺术家。当年的延安“鲁艺”,就在窑洞里为中国培养了一大批有出息的文学家和艺术家。虽然“鲁艺”早已搬离延安,但“鲁艺”精神却深深地在黄土地上扎了根,延安仍然象磁石一般吸引着全国各地的文学家和艺术家。 早在50年代,曾有人提出要搞一个“窑洞画派”,近年来又有人提起“窑洞画派”。虽然这个提法仅限于口头,但“窑洞画派”的作品却接连不断地问世。如石鲁的《转战陕北》、《东方欲晓》,蔡亮的《八·一五之夜》、刘文西的《毛主席和牧羊人》、靳之林的《南泥湾大生产》、郭全忠的《万语千言》等等这些不朽的作品,在社会上产生了极大影响,又一次在青年中产生了渴望延安的热
Yan’an’s cave is Marxism-Leninism, Yan’an’s cave is also an artist. Yan’an “Lu Yi” of that year trained a great number of influential writers and artists in China in the cave. Although “Lu Yi” has long been relocated from Yan’an, the spirit of “Lu Yi” has deeply rooted in the loess land. Yan’an still attracts writers and artists from all over the country like magnets. As early as the 1950s, some people proposed to engage in a “cave painting school”, and in recent years some people mentioned “cave painting school.” Although this formulation is limited to words, the works of “cave painting school” come out one after another. Such as Shi Lu’s “Fighting in Northern Shaanxi”, “Oriental Desires”, Cai Liang’s “Night of August 15”, Liu Wenxi’s “Chairman Mao and Shepherds”, Jin Zhilin’s “Nanniwan Large Production” “Immortality” and so on these immortal works, has had a great influence in the community, once again created in the youth craving Yan’an heat