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鉴于当时的很多画家们并未恢复到被“文革”贬抑前的地位,同时也未上升到后来的最高峰;大家们欣然合作,动机单纯,没有“笔下有黄”的观念,完全是出于友情和重拾事业的欢欣。
In the light of the fact that many painters at the time did not regain their pre-belittling position of “Cultural Revolution” and did not rise to the highest peak thereafter, and everyone was willing to cooperate and the motives were simple and there was no “yellowing” It’s all about joy and regaining cause.