摘要
1950-1970年代,中国的美术宣传一直被视为极为重要的方式,是政治斗争的武器之一.而宣传的对象主要是作为最核心的依靠力量的工农群众,在此当中,工农自身也被号召拿起这一表达的武器.中华人民共和国成立以后,作为民众教育和民众组织动员的手段,基层美术更是不断被提倡和鼓动,在一些运动中形成了一波又一波的创作高潮.
FROM THE 1950s dwough the 70s, propaganda art was valued as a crucial weapon for political struggle. It was an etffective way to mobilize the people, in particular, peasants and workers who, at the core of society; constitute a powerful force. This social class was called upon to employ art as an expressive tool.
出处
《艺术界》
2013年第5期154-159,16,共6页
