杨政. 1949年以来我国乡村题材美术创作在历史变迁中的图语言说[J]. 内江师范学院学报, 2023, 38(5): 113-119. DOI: 10.13603/j.cnki.51-1621/z.2023.05.019
    引用本文: 杨政. 1949年以来我国乡村题材美术创作在历史变迁中的图语言说[J]. 内江师范学院学报, 2023, 38(5): 113-119. DOI: 10.13603/j.cnki.51-1621/z.2023.05.019
    YANG Zheng. Language Intended by the Pictures in the Rural-themed Art Creation in Historical Vicissitudes in China since 1949[J]. Journal of Neijiang Normal University, 2023, 38(5): 113-119. DOI: 10.13603/j.cnki.51-1621/z.2023.05.019
    Citation: YANG Zheng. Language Intended by the Pictures in the Rural-themed Art Creation in Historical Vicissitudes in China since 1949[J]. Journal of Neijiang Normal University, 2023, 38(5): 113-119. DOI: 10.13603/j.cnki.51-1621/z.2023.05.019

    1949年以来我国乡村题材美术创作在历史变迁中的图语言说

    Language Intended by the Pictures in the Rural-themed Art Creation in Historical Vicissitudes in China since 1949

    • 摘要: 我国乡村题材美术创作具有丰富的文化内涵,并且经历了悠久的历史演变。特别是中华人民共和国成立以来,乡村题材美术作品历经改革开放之前的乡村美术创作意辨、1980年代人本主义思想的复苏展现、1990年代精神与价值的多元并存以及21世纪以来的自信和自主表达等几个阶段,图语言说着乡村题材美术创作的历史变迁。

       

      Abstract: The creation of rural-themed art creation in China presents profound cultural connotation and enjoys a long historical vicissitudes. Especially, since 1949, the works of rural-themed art can be divided into four phases: the differentiation of rural-themed art creation before the reform and opening up since 1978, the revival and display of humanism in the 1980s, the coexistence of diversified spirit and value in the 1990s, and the confidence and independent expression since the 21st century. The language intended by the picture indicates the historical vicissitudes in rural-themed art creation.

       

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