江苏近百年画坛画派(下)

The Jiangsu art circle and the new Jiangsu school of painting of the last hundred years part two

新中国成立之初,百废待新,巩固新政权当然是第一位的。在画坛,首先开展的是新年画运动,因为这是能够直接体现毛泽东倡导的文艺为人民服务思想的。中国画面临着一次新的抉择和改造。徐悲鸠说:“艺术需要现实主义的今天,闲情逸致的山水画,尽管它在历史上有极高的成就,但它不可能对人民起教育作用,也并无其他积极作用。”这在今天看来明显失之偏颇的论点,正是当时社会背景和观念的真实反映。山水画的唯一出路直面真山水。山水画的改造就是以风景写生为发端的。这一时期,不少画家都开始了“出新”的路,但普遍存在的问题是,新内容与传统形式的不相协调,许多作品不是内容出不了新,就是内容虽新却失去了笔墨不像中国画了。1954年北京的“李可染、张仃、罗铭水墨写生画展”,就是山水画改造的起初成果。

Jiangsu was an area of the most schools of painting in history.In the 20th century,the artists gathered in Jiangsu and fine works of painting were made in profusion.In 1950s,the“new Nanjing school of painting”delegated by Fu Baoshi and Qian Songyan appeared in Jiangsu.This paper gives an account of the course of the Jiangsu art circle and the new Jiangsu school of painting of the last hundred years.