壁画对建筑而言,有配合与服从的一面,从现实需要来看,大量的壁画属于这一类。但是如果仅仅看到这种关系,就很容易降低壁画本身的作用,忘掉它的功能,从而削弱了壁画的主体意识,其结果就会使壁画变成仅仅是建筑的装饰和附庸。 今天壁画作品中陈陈相因,模仿成风,单调的平面装饰风格泛滥,这不能完全归罪于壁画作者的水平不高,而是另有复杂的社会原因,如外行领导的武断,不正之风的影响等,这些严重阻碍着壁画艺术的发展。上届全国美展,有许多在内容与形式上有创造性的优秀作品,至今无一能得到上墙的机会(七届美展竟规定,只有上了墙的作品才可参加壁画展,美展组织者的这个决定实在是不可理解的错误!) Murals on the building, there is cooperation and obey the side, from the realistic point of view, a large number of murals fall into this category. However, seeing this relationship alone can easily reduce the function of the mural itself and forget its function, thus weakening the subjective consciousness of the mural. As a result, the mural becomes merely a decoration and vassal of architecture. In today’s frescoes, Chen Xiangxiang, imitation of the wind, monotonous flat decorative style flooding, which can not be entirely attributed to the mural author’s level is not high, but otherwise complicated social reasons, such as the leadership of the arbitrary, unhealthy Influence, etc., which seriously hinder the development of mural art. At the last National Art Exhibition, there were many outstanding works which were creative in content and form, and so far no one got the chance to go to the wall. (The 7th Fine Art Exhibition stipulated that only works on the wall can participate in the mural exhibition. This decision is really incomprehensible mistake!)