吕凤子研究-美术教育专业毕业论文.docx

AbstractLv Abstract Lv Fengzi，one of the first group of institute-cultivated teachers in the filed of China’S fine arts education in the twentieth century,has undergone up and downs in his life,which itself call undertake the significance of being a witness of the development ofChinese painting as a case study． This essay discusses Lv’S thoughts of arts through the elaboration of his unique view of‘perfect fine arts education’and that of‘Viht∞Thoughts”in painting history． Three first-prize winning representative productions respectively awarded at his early, middle and later periods are presented here as examples in order to study his exploration ofChinese painting． Lv’S early representative works“Clouds on the Lushan Mountain’’wins the first prize at Paris World’S Fair．“Four Luohans”，another widely acclaimed representative works at his middle age，also wins the only top award at the Third National Fine Arts Exhibition ofthe Republic ofChina．By studying these two objects，the essay explores the change from blind westernization to rational return of nationalization of Chinese painting styles against the background of prevailing thoughts，appraisal mechanism， judges’views，media and documents in 1930s and 1940s。witII the objective of examining the transmutation of aesthetic view at those times during the process of entan#amant and griading between western and national studies． ARer the foundation of the new China,it is greatly stressed that the arts should SOlVe the people,which is profoundly consistent with Lv’S simple and unadorned thoughts．and therefore helps him to翻loceed in series of exhibition and stand hi【gh in the art circles．The first-prize winning works of‘the Joy of Vegetable Grower’in Jiangsu Province is such an example． Due the counteraction of the“left’deviation after the 1980s，however,the landscape painting that much more agrees with the Chinese arts spirit gradually咖 more recognition．On the contrary,figure painting slides into an embarrassing situation．