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1979年是中国美术三十年发展进程中具有里程碑意义的重要一年。首都国际机场候机楼由袁运生创作的《泼水节——生命的赞歌》大型壁画上赫然惊现三个女裸体。裸体形象的出现在当时被视为僭越了人体艺术禁区而引起社会的巨大反响,甚至引起国外传媒的关注。中国美术的形态在后来所发生的一系列深刻变化,正是从大胆僭越人体艺术禁区为其起点。袁运生《泼水节——生命的赞歌》对中国美术三十年发展进程具有时代转折的历史意义。
1979 is an important milestone in the development of Chinese art for thirty years. The capital International Airport terminal by Yuan Yunsheng created “Songkran Festival - Life of the hymn” on the large mural surprised to see the three female nude. The appearance of nudity was at that time regarded as having crossed the restricted area of human body art and aroused tremendous social repercussions and even aroused the concern of foreign media. A series of profound changes that took place in the form of Chinese fine arts came from the bold attempt to forbid the restricted area of body art. Yuan Yun-sheng’s “Songkran Festival - A Praise of Life” Has Historical Significance for the 30-year Development of Chinese Fine Arts.