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自石鲁生在这个人世上,他似乎一直是个“招惹是非”的人物不管是在少年时的襁褓生活,还是在成都的求学时期;不管是在20世纪40年代延安的整风运动中,还是在“文化大革命”中;也不管是在80年代的新潮美术运动中,还是在世纪之交新儒学回归传统的努力中,石鲁总是一个要被“拉出来”捧一捧或斗一斗的人物。诽之者,认为他名过于实,甚至是“混进大师行列的一个冒牌货”,誉之者,认为他是个神人、20世纪中国画坛一位伟大的创造者、东方的凡·高、一个末被充分认识的顶级大师。总而言之.“会(?)则嗟讽,异我则沮弃”。而我则认为:这正也反也都关注到他,恰好说明他的作品有着多元的文化价值。《文心雕龙·知音》篇说:“各执一隅之解,欲拟万端之变”面对他的作品,人们之所以能“各执一隅”.
Since Shilunsheng was in this world, he always seems to have been a “provocateur” character, whether he was living in adolescence or studying in Chengdu. Whether in the rectification movement in Yan’an in the 1940s or in the culture The Great Revolution, “and regardless of whether it was during the trendy fine arts movement of the 1980s or the return of Neo-Confucianism to the traditions at the turn of the century, Shi Lu was always a figure to be” pulled out “or won. Slander, that his name is too real, or even ”a master mix into a fake“ reputation of those who think he is a man of God, a 20th century Chinese painting a great creator of the Orient Van Gogh, A well-known top master. All in all, ”yes (?) Is ironic, different from me discouraged.“ And I think: This is also concerned about him, it just shows that his works have a variety of cultural values. ”Wen Xin Diao Long Zhiyong“ articles, said: ”the implementation of a corner of the solution, to be changed in the end“ In the face of his work, people have been able to ”each corner."