毛泽东时期的中国美术

在国际共产主义运动中,在苏联、在社会主义的新中国,文艺始终是革命的“齿轮和螺丝钉”。新中国的美术家在为工农兵服务、为政治服务中,艰苦地、小心翼翼地寻求政治与艺术的结合部,在中国画、油画、版画、雕塑领域中,创作出一批批属于这个特定历史时期的为人民大众所喜闻乐见的力作。毛泽东晚年的极“左”路线,最后也将“三突出”、“高大全”、“红光亮”的美术推向顶峰与终结;同时,也为改革开放新时期的中国美术,提供了复兴与发展的机遇。

Chinese Art in the Period of MAO Ze-dong

In the international Communist movement literature and art: were always treated as gear wheel and screw of the whole revolutionary machine in both the former Soviet Union and socialist New China. In their efforts to serve the workers, peasants, soldiers and the politics, the Chinese artists painstakingly and carefully looked for the linking points of politics and art and created one batch after another of masterpieces that belonged to that particular period of time and were loved by the people in the fields of traditional Chinese painting, oil painting, print and sculpture. MAO Ze-dong's "extremely Leftist" line in his late years pushed the "three standouts", "tall, big, perfect" and "red, radiant, bright" art to the pinnacle and the end. Meanwhile, it also provides an opportunity for the Chinese art to rejuvenate and develop in the new period of reform and opening-up.