The cosmopolitanism of art advocates getting rid of bondage, emancipating the mind and abandoning national cultural traditions, which is the power expansion beyond class. As far as art is concerned, it is a form and content that can be accepted and accommodated by many nationalities.
There are two views on the relationship between the nationality of art and the world. One is that the world of art transcends nationality: with the progress of the times, culture and art, like the economy, will tend to be unified on the basis of mutual reference, forming a worldwide artistic trend with the same characteristics that transcend nationality, and this international art with world significance will become the mainstream of world art development in the future; Secondly, the cosmopolitan nature of art is also national. People who hold this view believe that with the development of art and the deepening of people's understanding of artistic nationality, only by actively absorbing foreign culture and constantly developing national art can artistic works have real nationality.
Comrade Mao Zedong once pointed out that "modern culture, foreign countries are higher than us, and we should admit this. Is art like this? China is unique in one respect, and foreign countries are better than us in another. ..... China culture should be developed. ..... It is wrong to oppose "foreign devils" like the Western Pacific. We should learn from foreign countries and learn to create things in China. ..... We accept the advantages of foreign countries, which will make our self-sufficient things have a leap forward. China's and foreign's should be organically combined, instead of copying foreign things. ..... What is useful in foreign countries must be learned to improve and develop things in China and create unique new things in China. " ③
It should be pointed out that western culture has irresistible attraction to economically backward countries. In today's increasingly close relationship between all ethnic groups in the world, it is of great practical significance to correctly understand the dialectical relationship between ethnic groups and the art world.
The author thinks that the nationality and cosmopolitanism of art can neither be equal nor completely separated. They are two contradictory aspects that are interrelated and different from each other.
First of all, to maintain the nationality of art, we should not be conceited; We should not despise his national culture, because our national art nourishes it.
Just like when we see a beggar telling people how senior an official and rich his father used to be, I believe no one will sympathize with him, and some will even say that he is a black sheep. The glory of the sages is the glorious history of our nation. It should be the driving force for us to work hard today, and it is by no means a banner or a cream for us to cheat. When we brag about how high the freehand brushwork of Chinese painting is: vivid charm, brushwork, etc., we denounce western painting, although it is also a craftsman and not a painter, in a sense, we are also admitting that China's ink painting is sloppy and western painting is meticulously carved. The two complement each other. As we all know, when there is sunshine, there will be shadows. China's ink painting pursues the picture effect without dark side, which is actually expressing an ideal pursuit and a beautiful yearning for a world without darkness and shadow, hoping that our master will have a bright future and shine brilliantly. Can you find anything in the world that has no contrast between light and shade? Pride, like a peacock, inevitably reveals an ugly ass. Everything is like this. Art should maintain the unique personality of the nation. The colorful art world consists of countless artists with different nationalities and artistic personalities. It is hard to imagine that the art of all ethnic groups will lose their artistic characteristics one day, and all mankind has only one artistic style, artistic style, artistic language and even content. This day is not only unimaginable, but also impossible to exist. Even in the capitalist society, the nationality of art will present a colorful scene like flowers and plants in nature. If there is a world-wide artistic style, artistic style and artistic language, it not only marks the demise of art, but also is the sorrow of human society. Flowers, red, willow and green complement each other, and the prosperity of world art also requires that the individuality of national art must be maintained.
Comrade Stalin once regarded "the unity of culture and the stability of psychological quality" as an indispensable standard of national characteristics. So, is there a standard for artistic nationality? In other words, what kind of works can be called national works? This is not an immediate answer. The nationality of art itself is not style, but a hundred flowers blossom. This "flower" comes from the artists' choice of tradition, from their personal life experience, life experience and emotional experience, and even from the artists' unique absorption and reference of national art factors. It is these differences that make the nationality of art itself diverse. The nationality of art is a concept relative to the artist's personal creation. The artist's personality is its foundation. Without the artist's creative personality, there is no national art, so we should advocate the artist's creative personality as well as the nationality of art.
Secondly, maintaining nationality can not ignore the essence of his national art, and absorbing the essence of his national art is not to dispel national individuality.
The cosmopolitanism of art does not mean Americanization or Europeanization. The world of art is not based on the artistic style of a certain country or region. With the development of national art, the world of art is also developing, not static.
The integration of China and the West is not a mixture of a bottle of red ink and a bottle of black ink. As far as art is concerned, this is not only unnecessary but also impossible. The "fusion" of Chinese and western cultures is to absorb the nutrition of other cultures and arts. Just like people eat pork and mutton, they don't want to turn themselves into pigs and sheep. This kind of absorption and reference is by no means imitation, copy or cloning of appearance, but is used by us to nourish body and mind, nourish our art, strengthen our health and develop our national art.
Just like food, we must go through our own oral chewing and gastrointestinal exercise, … and then excrete its dregs and absorb its essence. As we all know, western modernist art has absorbed the essence of primitive art in the East and even in Africa, but western art has not been submerged by oriental art. Today, we must have a clear purpose to absorb and learn from the artistic essence of other nationalities, that is, to promote the development of our own national art.
In today's information age known as the "global village", it is really difficult for a national art to live a clean and honest life without being influenced by other national arts, like a cowherd and a weaver girl across the river. It is really difficult for our artists to ask them to pick only the flowers of their own national art in the big garden where art is concentrated, and not to be tempted by the exotic flowers and grasses of his national art. "Rare things are precious", which is something that other nationalities have, but our own nation lacks, is often very tempting. Just as people often seek to feast their eyes, nobles who are tired of eating big fish and meat will also covet food in cloth. In the constant love for the new and nostalgia for the old, human beings have created today's civilization and art; Humans will also create a new life and a new artistic tomorrow in a new round of liking the new and hating the old and nostalgia.
As long as there are exchanges between nations, artistic exchanges will inevitably exist. The nationality of art is truly attractive only when it shows its beauty in communication with other nationalities and constantly changes its dance posture on the world art stage. There is no need to gnash its teeth and flock to western art and civilization. Western art is neither a scourge nor a good medicine to save the world.
We cannot pray for an art that contains all the advantages of art, which is not only impossible, but also meaningless. We don't have to cling to the remnants, nor do we have to be narcissistic. We should constantly absorb the essence of other national arts in order to improve and develop the inherent art of our own nation. Similarly, we should also see that some national arts and folk arts are not worldwide. Together with other countries in the world, our country has formed an army. We don't have to wrap our feet and drag our long braids to walk in the ranks of world culture. No nation needs to keep pace with other national arts. Lotus that came out of the sludge without dyeing did not refuse the nutrients provided by the sludge. Only by standing on the shoulders of the predecessors of this nation and other nations can we become giants of contemporary art, whether artists or art appreciators, they should not only choose their own artistic traditions, but also use our standards to regulate and choose the art of other nations. We should advocate creative inheritance and absorption and avoid blind obedience.
On the big stage of world art, nationality is meaningful. Without this stage, not only will the nationality of art lose its luster, but the world of art will also cease to exist.
The nationality of art refers to "using the unique artistic forms and techniques of this nation to reflect real life and make literary and artistic works have national style and style." The artistic works with national characteristics are created in the form of traditional art based on the national cultural and artistic traditions and aesthetic consciousness, which mainly show the life, thoughts and feelings, aspirations and artistic aesthetic taste of the people of this nation.
The cosmopolitanism of art advocates getting rid of bondage, emancipating the mind and abandoning national cultural traditions, which is the power expansion beyond class. As far as art is concerned, it is a form and content that can be accepted and accommodated by many nationalities.
There are two views on the relationship between the nationality of art and the world. One is that the world of art transcends nationality: with the progress of the times, culture and art, like the economy, will tend to be unified on the basis of mutual reference, forming a worldwide artistic trend with the same characteristics that transcend nationality, and this international art with world significance will become the mainstream of world art development in the future; Secondly, the cosmopolitan nature of art is also national. People who hold this view believe that with the development of art and the deepening of people's understanding of the nationality of art, only by actively absorbing foreign cultures and constantly developing national art can artistic works have real nationality.
Comrade Mao Zedong once pointed out that "modern culture, foreign countries are higher than us, and we should admit this. Is art like this? China is unique in one respect, and foreign countries are better than us in another. ..... China culture should be developed. ..... It is wrong to oppose "foreign devils" like the Western Pacific. We should learn from foreign countries and learn to create things in China. ..... We accept the advantages of foreign countries, which will make our self-sufficient things have a leap forward. China's and foreign's should be organically combined, instead of copying foreign things. ..... What is useful in foreign countries must be learned to improve and develop things in China and create unique new things in China. " ③
It should be pointed out that western culture has irresistible attraction to economically backward countries. In today's increasingly close relationship between all ethnic groups in the world, it is of great practical significance to correctly understand the dialectical relationship between ethnic groups and the art world.
The author thinks that the nationality and cosmopolitanism of art can neither be equal nor completely separated. They are two contradictory aspects that are interrelated and different from each other.
First of all, to maintain the nationality of art, we should not be conceited; We should not despise his national culture, because our national art nourishes it.
Just like when we see a beggar telling people how senior an official and rich his father used to be, I believe no one will sympathize with him, and some will even say that he is a black sheep. The glory of the sages is the glorious history of our nation. It should be the driving force for us to work hard today, and it is by no means a banner or a cream for us to cheat. When we brag about how high the freehand brushwork of Chinese painting is: vivid charm, brushwork, etc., we denounce western painting, although it is also a craftsman and not a painter, in a sense, we are also admitting that China's ink painting is sloppy and western painting is meticulously carved. The two complement each other. As we all know, when there is sunshine, there will be shadows. China's ink painting pursues the picture effect without dark side, which is actually expressing an ideal pursuit and a beautiful yearning for a world without darkness and shadow, hoping that our master will have a bright future and shine brilliantly. Can you find anything in the world that has no contrast between light and shade? Pride, like a peacock, inevitably reveals an ugly ass. Everything is like this. Art should maintain the unique personality of the nation. The colorful art world consists of countless artists with different nationalities and artistic personalities. It is hard to imagine that the art of all ethnic groups will lose their artistic characteristics one day, and all mankind has only one artistic style, artistic style, artistic language and even content. This day is not only unimaginable, but also impossible to exist. Even in the capitalist society, the nationality of art will present a colorful scene like flowers and plants in nature. If there is a world-wide artistic style, artistic style and artistic language, it not only marks the demise of art, but also is the sorrow of human society. Flowers, red, willow and green complement each other, and the prosperity of world art also requires that the individuality of national art must be maintained.
Comrade Stalin once regarded "the unity of culture and the stability of psychological quality" as an indispensable standard of national characteristics. So, is there a standard for artistic nationality? In other words, what kind of works can be called national works? This is not an immediate answer. The nationality of art itself is not style, but a hundred flowers blossom. This "flower" comes from the artists' choice of tradition, from their personal life experience, life experience and emotional experience, and even from the artists' unique absorption and reference of national art factors. It is these differences that make the nationality of art itself diverse. The nationality of art is a concept relative to the artist's personal creation. The artist's personality is its foundation. Without the artist's creative personality, there is no national art, so we should advocate the artist's creative personality as well as the nationality of art.
Secondly, maintaining nationality can not ignore the essence of his national art, and absorbing the essence of his national art is not to dispel national individuality.
The cosmopolitanism of art does not mean Americanization or Europeanization. The world of art is not based on the artistic style of a certain country or region. With the development of national art, the world of art is also developing, not static.
The integration of China and the West is not a mixture of a bottle of red ink and a bottle of black ink. As far as art is concerned, this is not only unnecessary but also impossible. The "fusion" of Chinese and western cultures is to absorb the nutrition of other cultures and arts. Just like people eat pork and mutton, they don't want to turn themselves into pigs and sheep. This kind of absorption and reference is by no means imitation, copy or cloning of appearance, but is used by us to nourish body and mind, nourish our art, strengthen our health and develop our national art.
Just like food, we must go through our own oral chewing and gastrointestinal exercise, … and then excrete its dregs and absorb its essence. As we all know, western modernist art has absorbed the essence of primitive art in the East and even in Africa, but western art has not been submerged by oriental art. Today, we must have a clear purpose to absorb and learn from the artistic essence of other nationalities, that is, to promote the development of our own national art.
In today's information age known as the "global village", it is really difficult for a national art to live a clean and honest life without being influenced by other national arts, like a cowherd and a weaver girl across the river. It is really difficult for our artists to ask them to pick only the flowers of their own national art in the big garden where art is concentrated, and not to be tempted by the exotic flowers and grasses of his national art. "Rare things are precious", which is something that other nationalities have, but our own nation lacks, is often very tempting. Just as people often seek to feast their eyes, nobles who are tired of eating big fish and meat will also covet food in cloth. In the constant love for the new and nostalgia for the old, human beings have created today's civilization and art; Humans will also create a new life and a new artistic tomorrow in a new round of liking the new and hating the old and nostalgia.
As long as there are exchanges between nations, artistic exchanges will inevitably exist. The nationality of art is truly attractive only when it shows its beauty in communication with other nationalities and constantly changes its dance posture on the world art stage. There is no need to gnash its teeth and flock to western art and civilization. Western art is neither a scourge nor a good medicine to save the world.
We cannot pray for an art that contains all the advantages of art, which is not only impossible, but also meaningless. We don't have to cling to the remnants, nor do we have to be narcissistic. We should constantly absorb the essence of other national arts in order to improve and develop the inherent art of our own nation. Similarly, we should also see that some national arts and folk arts are not worldwide. Together with other countries in the world, our country has formed an army. We don't have to wrap our feet and drag our long braids to walk in the ranks of world culture. No nation needs to keep pace with other national arts. Lotus that came out of the sludge without dyeing did not refuse the nutrients provided by the sludge. Only by standing on the shoulders of the predecessors of this nation and other nations can we become giants of contemporary art, whether artists or art appreciators, they should not only choose their own artistic traditions, but also use our standards to regulate and choose the art of other nations. We should advocate creative inheritance and absorption and avoid blind obedience.
On the big stage of world art, nationality is meaningful. Without this stage, not only will the nationality of art lose its luster, but the world of art will also cease to exist.
The nationality of art refers to "using the unique artistic forms and techniques of this nation to reflect real life and make literary and artistic works have national style and style." The artistic works with national characteristics are created in the form of traditional art based on the national cultural and artistic traditions and aesthetic consciousness, which mainly show the life, thoughts and feelings, aspirations and artistic aesthetic taste of the people of this nation.
The cosmopolitanism of art advocates getting rid of bondage, emancipating the mind and abandoning national cultural traditions, which is the power expansion beyond class. As far as art is concerned, it is a form and content that can be accepted and accommodated by many nationalities.
There are two views on the relationship between the nationality of art and the world. One is that the world of art transcends nationality: with the progress of the times, culture and art, like the economy, will tend to be unified on the basis of mutual reference, forming a worldwide artistic trend with the same characteristics that transcend nationality, and this international art with world significance will become the mainstream of world art development in the future; Secondly, the cosmopolitan nature of art is also national. People who hold this view believe that with the development of art and the deepening of people's understanding of artistic nationality, only by actively absorbing foreign culture and constantly developing national art can artistic works have real nationality.
Comrade Mao Zedong once pointed out that "modern culture, foreign countries are higher than us, and we should admit this. Is art like this? China is unique in one respect, and foreign countries are better than us in another. ..... China culture should be developed. ..... It is wrong to oppose "foreign devils" like the Western Pacific. We should learn from foreign countries and learn to create things in China. ..... We accept the advantages of foreign countries, which will make our self-sufficient things have a leap forward. China's and foreign's should be organically combined, instead of copying foreign things. ..... What is useful in foreign countries must be learned to improve and develop things in China and create unique new things in China. " ③
It should be pointed out that western culture has irresistible attraction to economically backward countries. In today's increasingly close relationship between all ethnic groups in the world, it is of great practical significance to correctly understand the dialectical relationship between ethnic groups and the art world.
The author thinks that the nationality and cosmopolitanism of art can neither be equal nor completely separated. They are two contradictory aspects that are interrelated and different from each other.
First of all, to maintain the nationality of art, we should not be conceited; We should not despise his national culture, because our national art nourishes it.
Just like when we see a beggar telling people how senior an official and rich his father used to be, I believe no one will sympathize with him, and some will even say that he is a black sheep. The glory of the sages is the glorious history of our nation. It should be the driving force for us to work hard today, and it is by no means a banner or a cream for us to cheat. When we brag about how high the freehand brushwork of Chinese painting is: vivid charm, brushwork, etc., we denounce western painting, although it is also a craftsman and not a painter, in a sense, we are also admitting that China's ink painting is sloppy and western painting is meticulously carved. The two complement each other. As we all know, when there is sunshine, there will be shadows. China's ink painting pursues the picture effect without dark side, which is actually expressing an ideal pursuit and a beautiful yearning for a world without darkness and shadow, hoping that our master will have a bright future and shine brilliantly. Can you find anything in the world that has no contrast between light and shade? Pride, like a peacock, inevitably reveals an ugly ass. Everything is like this. Art should maintain the unique personality of the nation. The colorful art world consists of countless artists with different nationalities and artistic personalities. It is hard to imagine that the art of all ethnic groups will lose their artistic characteristics one day, and all mankind has only one artistic style, artistic style, artistic language and even content. This day is not only unimaginable, but also impossible to exist. Even in the capitalist society, the nationality of art will present a colorful scene like flowers and plants in nature. If there is a world-wide artistic style, artistic style and artistic language, it not only marks the demise of art, but also is the sorrow of human society. Flowers, red, willow and green complement each other, and the prosperity of world art also requires that the individuality of national art must be maintained.
Comrade Stalin once regarded "the unity of culture and the stability of psychological quality" as an indispensable standard of national characteristics. So, is there a standard for artistic nationality? In other words, what kind of works can be called national works? This is not an immediate answer. The nationality of art itself is not style, but a hundred flowers blossom. This "flower" comes from the artists' choice of tradition, from their personal life experience, life experience and emotional experience, and even from the artists' unique absorption and reference of national art factors. It is these differences that make the nationality of art itself diverse. The nationality of art is a concept relative to the artist's personal creation. The artist's personality is its foundation. Without the artist's creative personality, there is no national art, so we should advocate the artist's creative personality as well as the nationality of art.
Secondly, maintaining nationality can not ignore the essence of his national art, and absorbing the essence of his national art is not to dispel national individuality.
The cosmopolitanism of art does not mean Americanization or Europeanization. The world of art is not based on the artistic style of a certain country or region. With the development of national art, the world of art is also developing, not static.
The integration of China and the West is not a mixture of a bottle of red ink and a bottle of black ink. As far as art is concerned, this is not only unnecessary but also impossible. The "fusion" of Chinese and western cultures is to absorb the nutrition of other cultures and arts. Just like people eat pork and mutton, they don't want to turn themselves into pigs and sheep. This kind of absorption and reference is by no means imitation, copy or cloning of appearance, but is used by us to nourish body and mind, nourish our art, strengthen our health and develop our national art.
Just like food, we must go through our own oral chewing and gastrointestinal exercise, … and then excrete its dregs and absorb its essence. As we all know, western modernist art has absorbed the essence of primitive art in the East and even in Africa, but western art has not been submerged by oriental art. Today, we must have a clear purpose to absorb and learn from the artistic essence of other nationalities, that is, to promote the development of our own national art.
In today's information age known as the "global village", it is really difficult for a national art to live a clean and honest life without being influenced by other national arts, like a cowherd and a weaver girl across the river. It is really difficult for our artists to ask them to pick only the flowers of their own national art in the big garden where art is concentrated, and not to be tempted by the exotic flowers and grasses of his national art. "Rare things are precious", which is something that other nationalities have, but our own nation lacks, is often very tempting. Just as people often seek to feast their eyes, nobles who are tired of eating big fish and meat will also covet food in cloth. In the constant love for the new and nostalgia for the old, human beings have created today's civilization and art; Humans will also create a new life and a new artistic tomorrow in a new round of liking the new and hating the old and nostalgia.
As long as there are exchanges between nations, artistic exchanges will inevitably exist. The nationality of art is truly attractive only when it shows its beauty in communication with other nationalities and constantly changes its dance posture on the world art stage. There is no need to gnash its teeth and flock to western art and civilization. Western art is neither a scourge nor a good medicine to save the world.
We cannot pray for an art that contains all the advantages of art, which is not only impossible, but also meaningless. We don't have to cling to the remnants, nor do we have to be narcissistic. We should constantly absorb the essence of other national arts in order to improve and develop the inherent art of our own nation. Similarly, we should also see that some national arts and folk arts are not worldwide. Together with other countries in the world, our country has formed an army. We don't have to wrap our feet and drag our long braids to walk in the ranks of world culture. No nation needs to keep pace with other national arts. Lotus that came out of the sludge without dyeing did not refuse the nutrients provided by the sludge. Only by standing on the shoulders of the predecessors of this nation and other nations can we become giants of contemporary art, whether artists or art appreciators, they should not only choose their own artistic traditions, but also use our standards to regulate and choose the art of other nations. We should advocate creative inheritance and absorption and avoid blind obedience.
On the big stage of world art, nationality is meaningful. Without this stage, not only will the nationality of art lose its luster, but the world of art will also cease to exist.
The nationality of art refers to "using the unique artistic forms and techniques of this nation to reflect real life and make literary and artistic works have national style and style." The artistic works with national characteristics are created in the form of traditional art based on the cultural and artistic traditions and aesthetic consciousness of the nation, which mainly show the life, thoughts and feelings, aspirations and artistic aesthetic taste of the people of the nation.
The cosmopolitanism of art advocates getting rid of bondage, emancipating the mind and abandoning national cultural traditions, which is the power expansion beyond class. As far as art is concerned, it is a form and content that can be accepted and accommodated by many nationalities.
There are two views on the relationship between the nationality of art and the world. One is that the world of art transcends nationality: with the progress of the times, culture and art, like the economy, will tend to be unified on the basis of mutual reference, forming a worldwide artistic trend with the same characteristics that transcend nationality, and this international art with world significance will become the mainstream of world art development in the future; Secondly, the cosmopolitan nature of art is also national. People who hold this view believe that with the development of art and the deepening of people's understanding of artistic nationality, only by actively absorbing foreign culture and constantly developing national art can artistic works have real nationality.
Comrade Mao Zedong once pointed out that "modern culture, foreign countries are higher than us, and we should admit this. Is art like this? China is unique in one respect, and foreign countries are better than us in another. ..... China culture should be developed. ..... It is wrong to oppose "foreign devils" like the Western Pacific. We should learn from foreign countries and learn to create things in China. ..... We accept the advantages of foreign countries, which will make our self-sufficient things have a leap forward. China's and foreign's should be organically combined, instead of copying foreign things. ..... What is useful in foreign countries must be learned to improve and develop things in China and create unique new things in China. " ③
It should be pointed out that western culture has irresistible attraction to economically backward countries. In today's increasingly close relationship between all ethnic groups in the world, it is of great practical significance to correctly understand the dialectical relationship between ethnic groups and the art world.
The author thinks that the nationality and cosmopolitanism of art can neither be equal nor completely separated. They are two contradictory aspects that are interrelated and different from each other.
First of all, to maintain the nationality of art, we should not be conceited; We should not despise his national culture, because our national art nourishes it.
Just like when we see a beggar telling people how senior an official and rich his father used to be, I believe no one will sympathize with him, and some will even say that he is a black sheep. The glory of the sages is the glorious history of our nation. It should be the driving force for us to work hard today, and it is by no means a banner or a cream for us to cheat. When we brag about how high the freehand brushwork of Chinese painting is: vivid charm, brushwork, etc., we denounce western painting, although it is also a craftsman and not a painter, in a sense, we are also admitting that China's ink painting is sloppy and western painting is meticulously carved. The two complement each other. As we all know, when there is sunshine, there will be shadows. China's ink painting pursues the picture effect without dark side, which is actually expressing an ideal pursuit and a beautiful yearning for a world without darkness and shadow, hoping that our master will have a bright future and shine brilliantly. Can you find anything in the world that has no contrast between light and shade? Pride, like a peacock, inevitably reveals an ugly ass. Everything is like this. Art should maintain the unique personality of the nation. The colorful art world consists of countless artists with different nationalities and artistic personalities. It is hard to imagine that the art of all ethnic groups will lose their artistic characteristics one day, and all mankind has only one artistic style, artistic style, artistic language and even content. This day is not only unimaginable, but also impossible to exist. Even in the capitalist society, the nationality of art will present a colorful scene like flowers and plants in nature. If there is a world-wide artistic style, artistic style and artistic language, it not only marks the demise of art, but also is the sorrow of human society. Flowers, flowers, willows and greens complement each other, and the prosperity of world art also requires that all people must be safeguarded.