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本文透过“文革”前“十七年”《美术》杂志的视角,集结该杂志在各个历史阶段针对林风眠时褒时贬的批评文稿,从中揭示出这一历史时期因文艺政策的不断变化,出现的对林风眠画坛形象大起大落的追捧和绞杀,反映出“文革”前“十七年”我国美术界因文艺从属于政治的需要而造成的政治对文艺的压迫现象,昭示出这一历史时期高度意识形态化的文艺与政治结盟产生的违背艺术规律的种种规训,给艺术家命运投下的沉重阴霾,进而阐明政治文化对“十七年”美术走向的影响,以及它与艺术多样化探索之间的矛盾与冲突。
From the perspective of “17” and “Fine Arts” in the period before the “Cultural Revolution”, this article brings together the critique of the magazine’s criticism and criticism of Lin Fengmian during various historical stages, revealing that due to the cultural and art policy in this historical period, The constant change of the image of Lin Fengmian’s painting altar, the ups and downs of her paintings, reflects the oppression of literature and art caused by the need of literary and art subordination in politics in China before the “Cultural Revolution” and “17 years” , Demonstrating the heavy haze of the fate of artists as a result of the various disciplines of the highly ideological art and politics alliances created during the historical period that contravened the laws of art and further clarified the influence of political culture on the art of “17 Years” , As well as its contradiction and conflict with the exploration of artistic diversity.