一个朋友说:“20世纪中国美术的一大奇观是通俗大众化。”是的,40—70年代的美术以普及为圭臬,以宣传为目的,以“喜闻乐见”的形式为特色。但“文革”结束后,清醒过来的人们突然发现,一些“为工农兵服务”的“大众化”作品,竟是那么千篇一律、空洞和苍白。自开放以来,曾被诅咒为“反动权威”的“大、洋、古”的作品,又出现在书店、美术馆、剧场或音乐厅。唐诗、宋画、凡·高,莫扎特、尼采,达利重新把一些人迷醉,被视为神圣。与此同时,在艺术创作上,则出现了两种相偏离的趋向,一是有些作品又回到少数人的圈子,大众不理解不接受;一是相当一批作品适应乃至追随商品化目的,自动通俗化,受到广大城市消费公众的青睐。 A friend said: “One of the major wonders of Chinese art in the 20th century was popular popularization.” Yes, the art of the 40s-70s was characterized by popularization as the pretext and the propaganda as its purpose. However, after the “Cultural Revolution” was over, those who awoke suddenly found out that some “popular” works “serving the workers, peasants and soldiers” were so stereotyped, empty and pale. Since the opening up, works of “big, ocean and ancient” once cursed as “reactionary authorities” have appeared in bookstores, art galleries, theaters or concert halls. Tang poetry, Song paintings, Van Gogh, Mozart, Nietzsche, Dali rekindled some people, is considered sacred. At the same time, there are two deviations in artistic creation: one is the return of some works to the circle of the minority and the other is unacceptable to the public; the other is that a considerable number of works have been adapted or even followed the purpose of commercialization, Automatic popularization, by the majority of urban consumers of all ages.