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艺术的发展有赖于经济基础的发展,但又有其自身的规律与相对的独立性。忽视或背离艺术自身的规律性与相对的独立性无疑会导致艺术创作的非正常创作心态和艺术的停滞。我们可以从油画历史发展阶段看到这点,从40年代起由于战争(即抗日战争)的原因,使得中国的知识分子包括画家真正走向生活——广大的农村去体验生活,汲取滋养,去捕捉那朴质的感情,同时在绘画领域里,也开始了从反传统文化到重新评估传统文化,在反思中以丰富自身的油画语言,同时也找到了自己的新的现实主义创作力法,出现过大批借用不同流派手法的作品。然而战争年代的传统和阶段斗争的方式在社会主义初期延伸下来,政治对艺术的统帅束缚着艺术家创作的自由。“一切‘创造’都转向内心,不是转向内心的丰
The development of the arts depends on the development of economic base, but has its own laws and relative independence. Ignoring or deviating from the regularity and relative independence of the art itself undoubtedly leads to the abnormal creative mentality and the stagnation of the art. We can see this from the stage of historical development of oil painting. Since the 1940s, due to the war (that is, the war of resistance against Japan), Chinese intellectuals, including painters, have really come to live - vast rural areas to experience life, draw nourishment and capture At the same time, in the field of painting, he started his journey from anti-traditional culture to reevaluating traditional culture, enriching his own oil painting language in his reflections, and finding his own new realist creative method. Use a large number of different genre techniques. However, the tradition of the war years and the stage struggle mode extended in the early days of socialism, and the political command of the arts bound the freedom of the artist’s creation. "All ’creation’ is turned to the heart, not to the abundance of the heart