本文選題：實(shí)驗(yàn)報(bào)告 + 版畫系　； 參考：《美術(shù)觀察》2017年05期

【摘要】：正一從某種意義上講,當(dāng)代個(gè)人原創(chuàng)的實(shí)踐,在語言與風(fēng)格上大都是前人所創(chuàng)造,只是在前人的基礎(chǔ)上進(jìn)行變化和延伸,提倡原創(chuàng)的意義在于,思想和精神上要更獨(dú)立,語言和風(fēng)格上更多樣。1978年秋,我考入廣州美術(shù)學(xué)院版畫系,在之前我對(duì)版畫的印象很淡薄,只是有點(diǎn)魯迅提倡新興木刻那些與戰(zhàn)斗與關(guān)注社會(huì)現(xiàn)實(shí)的印象,再就是"文革"和"文革"后期"三突出"時(shí)的革命浪漫主義和革命現(xiàn)實(shí)主義的作品,其中對(duì)表現(xiàn)力
[Abstract]:In a sense, the contemporary practice of individual originality is mostly created by predecessors in terms of language and style, but it is based on the changes and extensions of predecessors. The significance of advocating originality lies in the fact that thought and spirit should be more independent. In the autumn of 1978, I was admitted to the department of print at the Guangzhou Academy of Fine Arts. Before that, I had a very weak impression of print, but a bit of Lu Xun advocated the impression of emerging woodcut that was related to fighting and paying attention to social reality. Then there are the works of revolutionary romanticism and revolutionary realism in the late period of the Cultural Revolution and the late period of the Cultural Revolution.
【分類號(hào)】：J217

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