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作为舶来品的油画,在中国百余年的发展中,先后经历了画法引入、政治宣传和民族化等阶段。至上世纪80年代开始,随着政治意识形态的淡化,“伤痕美术”“乡土美术”及“新古典主义”的探索在四川、北京等地先后拉开帷幕,而与之遥相呼应的则是围绕黄河及其风土人情所形成的油画艺术探索,典型者如尚扬、段正渠、丁方、郭北平等。由于这些画家分散在湖北、河南、陕西各地进行独立的艺术创作,因而没有被评论家以约定俗成的派别来定义,
The oil paintings, as imported goods, have undergone the phases of introduction of painting, political propaganda and nationalization in the development of more than one hundred years in China. Since the 1980s, along with the desalination of political ideology, the exploration of “Scar Art ” “Native Art ” and “Neoclassical ” has been successively opened in Sichuan and Beijing, Echoes echoed around the Yellow River and its local customs and practices formed by the exploration of oil paintings, such as Shang Yang, Duan Zheng Qu, Ding Fang, Guo Beiping and so on. Because these painters scattered in Hubei, Henan, Shaanxi, independent art creation, and therefore not by the critics of conventions to define the faction,