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田杰(1920—1995)是西安美术学院老一代的专业教师——桃李满天下;他是具有较大社会影响的版画艺术家——革命老资格。他利用教学余暇从事版画艺术创作取得了丰硕成果,并多次参加地方及全国性的艺术展览,也举办过个人版画艺术展,其代表性酌作品或发表或被有关艺术单位所收藏,由此受到国家和文化艺术界的广泛关注,所以很值得研究。 我从邸杰的的遗作中选《秦川之春》、《早春》、《桃花盛开的时候》等三幅作品进行一点综合性分析,想尽可能尊重历史的真实性,还他艺术家本来面貌。考虑到这些作品均产生于60—70年代,有必要联系他在政治上的不幸遭遇,从而为这些作品的诞生提供了令人容易解渎的思想背景,同时也有希望把握他当时的创作心态。面对90年代的艺术观赏者,他的作品也许无关紧要,但他在那个严酷的年代能产生这些可喜的作品谈何容易!当时,他根本不可能获得创作自由,然而就在“四面楚歌”的危机状态中竟然找到了自己的艺术语言,走出了一条独辟蹊径的艺术
Tian Jie (1920-1995) is an older generation of professional teachers in the Xi’an Academy of Fine Arts - Peach and plum all over the world; he is a print artist with a greater social influence - a veteran of the revolution. He has made great achievements in the art of printmaking with his teaching spare time. He has participated in many local and national art exhibitions on a number of occasions. He has also held personal printmaking art exhibitions, which are represented by his works or published or collected by art units It is worth studying because of the widespread concern of the nation and the arts and culture community. I selected a few comprehensive analyzes from the works of Di Jie, such as “Spring of Qinchuan”, “Early Spring”, “The Time of Peach Blossoms”, and tried to respect the authenticity of history as much as possible, as well as the original appearance of his artist . Considering that these works originated in the 1960s and 1970s, it is necessary to contact him in the political unfortunate experience, thus providing an easy thought-provoking ideological background for the birth of these works. At the same time, he also hopes to grasp his creative attitude at that time. His work may or may not matter in the face of the 90’s art watchers, but how easy it was for him to produce these gratifying works in that harsh age when he was simply not likely to get creative freedom, yet in the midst of a “melodramatic” crisis Even found his own artistic language, out of a unique art