论文部分内容阅读
为纪念革命家、杰出画家韩乐然同志诞辰90周年,1988年12月国家民委和延边朝鲜族自治州政府在北京民族文化宫举办了“韩乐然遗作展览”。面对画家当年在西北各千佛洞临摹的许多壁画遗作,不禁引起我们对他在新疆作过一段文物考古工作的怀念。 韩乐然同志是吉林省朝鲜族人,职业是画家,早年便投身中国革命。1944年由于革命工作需要,来到西北地区。1945年.他到敦煌莫高窟、榆林窟与老朋友画家常书鸿共同临摹壁画的过程中,他了解到清朝末年以来许多外国探险队对敦煌及新疆文物的劫夺情况,极为愤慨。有的西方学者在其著述里常将中原文明在我国西部文化中的作用和地位加以歪曲或抹煞,他对这类不符合历史事实的偏见,感到有责任用艺术文明的真实来加以驳正,于是他决定对新疆作较大范围的艺术考察。 1946年春,在路易·艾黎和张治中、陶峙岳将
To commemorate the 90th anniversary of the birth of Comrade Han Leran, a distinguished painter, the State Ethnic Affairs Commission and the Yanbian Korean Autonomous Prefecture held the “Han Leran Heritage Exhibition” in Beijing’s National Palace of Culture in December 1988. In the face of the many murals left by the painters in the thousands of Buddha holes in the northwest that year, we can not help but wonder why he had made some relics and archeology in Xinjiang. Comrade Han Loran, a Korean national of Jilin Province, was a painter in his career and joined the Chinese revolution in his early years. In 1944 due to the revolutionary work needs, came to the northwest region. In 1945, when he went to Mogao Grottoes in Dunhuang, Yulin Grottoes and old friend painter Chang Shu-hong to copy murals, he learned that many foreign expeditions in the late Qing dynasty were extremely indignant about the robbery of the cultural relics in Dunhuang and Xinjiang. Some Western scholars often distort or obliterate the role and status of the Central Plains civilization in the western culture of China in his writings. He felt that it is his responsibility to correct such biases that are not in line with historical facts with the truth of the art civilization. So he decided to conduct a large-scale art inspection in Xinjiang. In the spring of 1946, in Louis Alley and Zhang Zhizhong, Tao Zhiyue will