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作为最年轻画种的中国现代壁画虽然没有像油画那样轰轰烈烈地奔向市场,像城市雕塑那样由于一定的行政手段的推波助澜而迅速地遍布城镇街头,却也以不小的规模占领着那新建起来的高楼广厦的墙面,作品数量虽然不多,但由于它的相对恒久性和巨大的体量,作为大型艺术它所具有的公众性的特征,使我们不得不特别重视它的创作质量和它当前存在的问题。 鲁迅美术学院的教师们是从1982年开始创作壁画的,至今已有12年的历史。近年来,几位青年教师在探索新材料的使用上进行了卓有成效的尝试,马书林的钢板喷铜,周见、田奎玉、刘希倬等人的金属锻造或铜线造型结合着马赛克镶嵌式漆艺的底面处理,装饰着众多的建筑物的公共空间。他们的设计在具有学院艺术严
As the youngest kind of modern Chinese mural painting, although not as vigorous as the oil painting to the market, as urban sculpture as a result of certain administrative measures and quickly spread throughout the streets of the town, but also with no small scale to occupy the newly built However, due to its relative permanence and immense mass, its public nature as a large-scale art makes us have to pay special attention to its quality of creation and Its current problem. Teachers at the Lu Xun Academy of Fine Arts started writing frescoes in 1982 and have now 12 years of history. In recent years, several young teachers have made fruitful attempts to explore the use of new materials. Ma Shulin's steel plate bronze, Zhou Jian, Tian Kuiyu, Liu Xihuan and others' metal forging or copper wire moldings are combined with the mosaic lacquer bottom surface Processed and decorated with numerous buildings in public spaces. Their designs have a strict academic art