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江苏曾为古文明发展提供了“沃土”,这里曾人文荟萃,绘家云集,流派纷呈。 本世纪初,由于西画渗入,新学兴起,使传统的中国绘画受到冲击。学术界的“虚无主义”,加之战乱影响,江苏中国画进入了低潮时期。五十年代中叶,为弘扬中国画传统艺术,在党的“百花齐放,推陈出新”方针指引下,继北京、上海成立画院后,1957年吕凤子、傅抱石、陈之佛、
Jiangsu has provided “fertile soil” for the development of ancient civilizations, where there was a gathering of humanities, home-grown painters and various genres. At the beginning of this century, due to the infiltration of western painting, the rise of new learning brought the traditional Chinese painting under attack. Academic “nihilism”, combined with the impact of the war, Jiangsu Chinese painting entered a period of low ebb. In the mid-1950s, in order to carry forward the traditional Chinese art, guided by the party’s policy of “letting a hundred flowers bloom and make innovation”, following the establishment of a painting studio in Beijing and Shanghai in 1957, Lv Fengzi, Fu Baoshi,