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“漓江画派”是广西美术当代走势的一个方向和整体发展中的一个概念。如何能使广西美术既能集约的发展,又不妨碍个人性,既有鲜明的土地立场,又不落伍于时代,是“漓江画派”当下与未来要思考或需要解惑的问题。本文借2004年11月漓江画派展示月为对象,依次对六大展览进行了述评,从地域、文化及画家生态的实际情况,作了较为系统、学理的分析,主张广西美术在营造“漓江画派”概念的过程中,应以集约的人员结构和土地立场及当代方式来打造广西美术的当代形象,以避免土特产意识和大跃进的集体性方式。
The “Lijiang River School of Painting” is a direction in the contemporary trend of Guangxi Fine Arts and a concept in the overall development. How to make Guangxi art not only prevent the development of intensive development without hindering the individuality, but also have distinct land positions, and do not fall behind in the times. This is a question that Lijiang Painting School needs to think about or needs to be solved in the future and in the future. Based on the demonstration of the Lijiang River School in November 2004, this article reviews the six exhibitions in turn and makes a systematic and theoretical analysis from the perspective of the geographical, cultural and ecological conditions of the artists. It advocates that Guangxi Fine Arts should create “ Painting School ”concept, the current image of Guangxi Fine Arts should be built with an intensive personnel structure, land standpoint and contemporary approach to avoid the awareness of indigenous products and the collective approach of the Great Leap Forward.