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壁画作为一种宣传的形式,无论古今还是中外都被用于宣传目的。纵观中国壁画脉络,多以墓葬为主,其敦煌代表的气韵生动,唯美与华贵成为壁画的首选语言,这种画面风格产生了人们对壁画认知的模式化。直到“十七年”时期,随着新壁画的风格成型,壁画才真正的挑起了宣传美术的重担,其高潮大跃进时期多被世人打成浮夸风的标签,甚至其时代的新壁画运动基本无人问津,但它的繁荣与其宣传的成功是无可比拟的,它开辟了一种新的画风,并有现存的意义及影响,所以它值得被重视,以其为基调的宣传美术也值得被从新认识。
As a form of propaganda, mural painting has been used for propaganda purposes, both ancient and modern, and abroad. Throughout the context of Chinese murals, mostly tombs, the representative of the Dunhuang charm vivid, beautiful and luxurious as the preferred language of murals, this picture has produced a pattern of cognitive murals. Until the period of “17 years”, with the formation of the new mural style, murals really provoked the heavy burden of propaganda and art. During the period of the Great Leap Forward, more people were labeled as exaggerated labels in the Great Leap Forward. Even the new era The frescoes are basically unmanned, but its prosperity is incomparable with the success of its propaganda. It opens up a new style of painting with extant meaning and influence, so it deserves to be valued and based on it Propaganda art also deserves to be re-recognized.