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上世纪80年代黄秋园、陈子庄的“被发现”曾在中国画坛引起巨大震动,同时也引发了众多深入的思考。事实上,回顾刚刚过去的20世纪中国美术,我们会发现,或因一生僻居乡里,或因本人不求闻达,或因与其时主流画风的格格不入,尚有众多本该进入公共视野的人物由于种种不同的原因而为历史所遮蔽,这无论对于其本人还是20世纪中国美术都是莫大的遗憾。从2007年至今我刊陆续重点推介过的李耕、刘止庸、余承尧诸先生即是如此。自本期始,我刊邀请部分学者开辟“20世纪美术钩沉”专栏,每期介绍一位技艺卓越然少为人知的20世纪画家,希望得到广大读者的关注和支持。客观而真实地还原历史,是美术史研究的首要任务。
In the 1980s, Huang Qiuyuan and Chen Zizhuang’s “found ” caused great shock in Chinese painting circles, and also triggered many in-depth thinking. In fact, looking back at the 20th century Chinese art just passed, we find that there are still a large number of people who should have entered the public field of vision either because they were living in remote places for a long time or because they did not ask for news or because they were out of touch with the mainstream style of the time For a variety of reasons for the history of the shelter, which both for themselves and the 20th century Chinese art is a great regret. From 2007 to now, I have published in succession one after another Ligeng, Liu Yong, Yu Chengyao Zhu is so. Since the beginning of this issue, I have invited some scholars to open the column entitled “Fine Art in the 20th Century”, each introducing a twentieth century painter who knows little or no better than others and hopes to receive the attention and support of readers. Objectively and truthfully restore the history of art history research is the primary task.