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中国当代美术像一只飞梭,在短短的十年穿过了上百年的时光。尤其是’85’86美术新潮的出现,揭开了中国美术史新的一页,涌现出一批富有锐气的弄潮儿。青年理论工作者李小山的《当代中国画之我见》,振荡了中国美术史理论批评方面的一潭死水,拉开了延续几年之久的关于中国画命运的讨论。美术思潮在中国文化思潮中占据如此地位是以往从来未曾有过的。现在我们回
Chinese contemporary art like a shuttle, in a short span of ten years through hundreds of years. In particular, the advent of ’85’86 art trends opened a new chapter in the history of Chinese art and emerged as a group of gritty beach-goers. Li Xiaoshan, a young theoretical worker, “My View on Contemporary Chinese Painting” shakes the backwaters of the theoretical criticism of the history of Chinese art history and opens the discussion on the fate of Chinese painting for a few years. The trend of art thought occupying this position in Chinese cultural thoughts has never been before. Now let’s go back