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对20世纪中国山水画的评价,有过截然不同的看法,这些观点形成于不同的时期,可见现实的价值判断和对历史背景的不同认识,都影响到了对山水画认识。从某种意义上说,山水画比人物画似乎更能反映时代在艺术家身上留下的烙印,因为很久以来,“山水”代表着传统的品格和精神,即便在1966年以后的一段时间,国家主流意识形态强大到足以取代画家独立思想的时候,山水画中仍然或多或少地保持着艺术家的梦想,是无数受伤的心灵最后的乌有乡。因此回顾这段历史过程,我们首先采取的办法是:处身设地。
There are different opinions on the evaluation of Chinese landscape painting in the 20th century. These views were formed in different periods. It can be seen that the realistic value judgment and different understanding of the historical background all affect the cognition of landscape painting. In a sense, landscape painting seems to reflect the imprint of the era on the artist more than the portrait painting. For a long time, “landscape painting” represented the traditional character and spirit. Even after 1966, the mainstream of the country When the ideology is strong enough to replace the artist’s independent thought, landscape painting still retains the artist’s dream more or less, which is the last of numerous innocuous hearts. Therefore, to review this historical process, we first take the approach is: