CAJ | 학술논문

1949年新中国成立前后，对中国画的改造运动就轰轰烈烈地展开了。这个改造不是基于艺术的必然规律，而是在国家意识形态的强力干预下被动进行的。以《在延安文艺座谈会上的讲话》精神为指导，传统的中国画经历了“新国画”“新山水画”，表现毛泽东诗意和革命圣地的山水画，最终完成了对高雅文人画的改造，国画成为国家意识形态的图像。
1949년신중국성립전후，대중국화적개조운동취굉굉렬렬지전개료。저개개조불시기우예술적필연규률，이시재국가의식형태적강력간예하피동진행적。이《재연안문예좌담회상적강화》정신위지도，전통적중국화경력료“신국화”“신산수화”，표현모택동시의화혁명골지적산수화，최종완성료대고아문인화적개조，국화성위국가의식형태적도상。
Before and after the founding of New China in 1949, the transformation campaign of Chinese painting vigorously unfolded. This transformation was passively conducted not based on the inexorable law of art, but under the strong intervention of the state ideology. Guided by the spirit of “Speech In the Yan’an Literature and Art Forum”, traditional Chinese painting experienced “New Chinese Painting”, “New Landscape Painting” and the landscape to perform Mao Zedong poetry and revolutionary site, and finally completed the transformation of the elegant literati painting. Traditional Chinese painting became the national ideology image.