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对于20世纪50年代在意识形态作用下的中国画,虽无法用纯美学的角度解读,但我们应打破惯有的“政治阐释的绝对视界”以及“去政治化”的极端对立,不能忽略中国画在其实践中自身的审美维度,“艺术为大众”的思想实现了传统文人画从对个人情感的伫立到大众人生的关照,使中国画在现代转型中突破了“雅”与“俗”的对立,为现代中国画的多元发展提供了选择,保持了当代中国画发展的生态失衡。
For the Chinese paintings under the ideological influence of the 1950s, although they can not be interpreted purely from the perspective of aesthetics, we should break the extreme opposites of the conventional “absolute horizon of political interpretation” and “de-politicization” The aesthetic dimension of Chinese painting in its practice can not be neglected. The idea of “art as the mass” realizes the traditional literati painting from the standpoint of personal feeling to the care of the public life, which makes the Chinese painting breakthrough in the modern transformation “And” vulgar "opposites provide the choice for the multi-dimensional development of modern Chinese painting and maintain the ecological imbalance in the development of contemporary Chinese painting.