本文選題：延安魯藝 + 藝術(shù)生產(chǎn)�。� 參考：《美術(shù)》2017年07期

【摘要】：20世紀(jì)下半葉中國文藝的發(fā)展在很大程度上沿襲了延安魯藝的藝術(shù)生產(chǎn)機(jī)制,它們在文藝?yán)碚搶W(xué)習(xí)及文藝服務(wù)導(dǎo)向方面一脈相承;在教學(xué)方法及藝術(shù)創(chuàng)作觀念方面前后沿革;在師資和對民族民間藝術(shù)的學(xué)習(xí)方面也有一定的繼承和相通之處。同時(shí),為了適應(yīng)新中國成立后政治文化和社會環(huán)境的變化,這一藝術(shù)生產(chǎn)機(jī)制在理論的民族化、藝術(shù)作品的表現(xiàn)內(nèi)容以及藝術(shù)種類的多樣性、藝術(shù)表現(xiàn)方法等方面,也發(fā)生了一定的變革。
[Abstract]:The development of Chinese literature and art in the second half of the 20th century, to a large extent, followed the artistic production mechanism of Yan'an Lu art, which followed the same line in the study of literature and art theory and the orientation of literature and art service, as well as the evolution of teaching methods and artistic creation concepts. In terms of teachers and the study of folk art, there are certain inheritance and similarities. At the same time, in order to adapt to the changes of political culture and social environment after the founding of New China, this mechanism of art production is characterized by the nationalization of theory, the content of artistic works, the variety of art types, and the methods of artistic expression, etc. Certain changes have also taken place.
【作者單位】： 西北大學(xué)藝術(shù)學(xué)院;
【基金】：2015年度陜西省社會科學(xué)基金項(xiàng)目《延安魯藝的文藝精神研究》的研究成果,立項(xiàng)號:2015J021
【分類號】：J120.9

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