我国美术在80年代“新潮美术”和90年代商品大潮的冲击下,已经极大地打破了艺术家的自我平静。并不能因为黑龙江地处边疆,远离“潮流”中心,就能不受其影响,在省城哈尔滨也曾出现过在全国颇具影响的“新潮”组织。可是,前不久在哈尔滨省美术馆展出的“黑龙江美术家协会美术创作室作品展”倒是另一番景象,不仅展出的作品具有较高的艺术水平,而且也展现了艺术家潜心创作的平和心态。 这个创作室的画家们立足于黑土地的自然环境与人文环境,画他们熟悉的黑土地、大草原、大森林。他们的艺术取向没有忽东忽西,他们的艺术发展也没有大起大落,而是在平稳中的渐进,表现为在延续中的发展和在突破中的变异。这种面对多样取向的选择,有其自身发展的历史延续性。一是出之于以往 Under the impact of “Trendy Fine Arts” in the 1980s and the tide of goods in the 90’s, the fine arts of our country have greatly broken the self-calm of the artists. It is not because Heilongjiang is located in the frontier and away from the “trend” center, it can not be affected. In Harbin, the provincial capital, there have also been “trendy” organizations influential in China. However, not long ago, the “Art Works of Heilongjiang Artists Association Exhibition” exhibited at the Harbin Museum of Art was another scene. Not only did the works displayed have a high artistic level, but they also demonstrated the artist’s painstaking dedication Mentality. The painters in this studio based on the natural environment and cultural environment of the black land, painting their familiar black land, prairie, big forest. Their artistic orientation has not been totally ignored. Their artistic development has not fluctuated dramatically. Rather, they have been gradual and steady in their steady development. They are characterized by the development in continuity and the variation in breakthroughs. This choice in the face of diverse orientations has historical continuity of its own development. One is out of the past