任何具有普遍意义的事物,它的生成及其发展都有它特定的历史环境和现实土壤,美术也不例外。中国美术在建国后的头三十年里,遵循的是艺术为政治服务的思想路线,那个时候国画山水、花鸟、油画风景、静物、人体等表现轻松、娇好、休闲,以欣赏和愉悦为品质的所谓“非主题性”创作,很难登上大雅之堂,受到不应有的遏制,弄不好还要挨一顿批判。现在回忆起来,仍然使许多老一辈艺术家们心有余悸,不寒而栗。上世纪八十年代始,改革开放的春风,使冰封的良知得以苏醒,中国美术亦发生了前所未有的重大变化。 Anything of universal significance, its formation and its development have its own specific historical environment and reality, and art is no exception. In the first three decades after the founding of the People’s Republic of China, Chinese art obeyed the ideological line of art for political service. At that time, traditional Chinese landscapes, flowers and birds, landscape paintings, still life and human body showed relaxed, charming, relaxed and enjoyable Quality of the so-called “non-thematic ” creation, it is difficult to board the house of elegance, subject to unnecessary containment, get out, but also suffer criticism. Now, recalling, it still chills and shudders many older generations of artists. Since the 1980s, the spring breeze of reform and opening up has brought the frozen conscience to a revival. The Chinese art has undergone unprecedented major changes.