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正象解放后,每当政治上发生重大变化都会引起国画创新的大讨论一样,文革的开展再度引起了国画界对这个敏感话题的讨论。和前几次相同,文革期间对国画创新的讨论,完全是以主流意识形态为基点展开的。参与讨论的人们要表达的一个基本观点,就是想办法使国画这一传统艺术样式适应新的文艺政策和政治宣传的需要。因此,几乎从讨论的开始,人们就达成了共识,即中国画创新首先要思想内容新,其次才是艺术形式新。 怎样才能使国画在思想内容与艺术形式两方面都出“无产阶级”之新呢?对此,当时的广东省国画组在一篇探讨中国画创新的文章中提出了一种绝对符合新艺术机构意图的“革命化”方案。这就是:“社会主义的新国画,要在无产阶级世界观的指导下,积极反映伟大的社会主义革命和社会主义建设,满腔热情地塑造工农兵的英雄形象,必须对旧有的中国画形式加以改造和发展。只有这样,才能创造出与革命的政治内容相适应的尽可能完美的艺术形式。”
Just as after the liberation, whenever major political changes led to a major debate about the innovation of traditional Chinese painting, the Cultural Revolution once again aroused the discussion of this sensitive topic in the Chinese painting circle. As before, the discussion of the innovation of traditional Chinese painting during the Cultural Revolution was entirely based on the mainstream ideology. The basic point people want to express in participating in the discussion is to find ways to adapt the traditional art style of traditional Chinese painting to the needs of new literary and art policies and political propaganda. Therefore, almost from the very beginning of the discussion, people reached a consensus that the innovation of Chinese painting must first have new contents of thought and secondly, new forms of art. How can we make Chinese painting new to the “proletariat” in terms of both ideological content and art form? In response, an article entitled “Proletarianism” by the Guangdong National Painting Group at the time proposed in an article on the innovation of Chinese painting an image that is absolutely in line with the intention of the new art institution The “revolutionary” program. This is: “Under the guidance of the proletarian world outlook, the new state painting of socialism must actively reflect the great socialist revolution and socialist construction and enthusiastically mold the heroic image of the workers, peasants and soldiers. We must reform the old Chinese painting form And development, the only way to create the best possible art form that fits the revolutionary political content. ”