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亚际木刻图绘(五) 战后亚洲的木刻运动 Donation integrates the Japanese leadership as
亚际木刻图绘(五) 战后亚洲的木刻运动 Donation integrates the Japanese leadership as
亚际木刻图绘(五) 战后亚洲的木刻运动 Donation integrates the Japanese leadership as
亚际木刻图绘(五) 战后亚洲的木刻运动 Donation integrates the Japanese leadership as

亚际木刻图绘(五) 战后亚洲的木刻运动 Donation integrates the Japanese leadership as

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integrates the Japanese leadership as well

▪ 將目光從《岩中聖母》的人物上移開，一旁的花草淋漓盡致展現了畫家的細膩觀察力。

东夫这本《麦苗青菜花黄--大饥荒川西纪实》选取川西平原温江地区作为他描述的对象，极富典型意义。川西平原历来被称为天府之国，大跃进的号角就是在这里的成都会议上吹响的，四川又是大跃进-大饥荒的重灾区，四川饿死人是全国最多的。作者本人就生于温江，长于成都，属于老三届一代，当过知青，当过兵，对四川的大跃进--大饥荒有着刻骨铭心的感受和记忆，早在文革期间就对这一问题产生了强烈的关切。作者的父亲是老干部，在四川长期从事经济方面的调查研究工作，对四川大跃进期间相关的人和事都非常熟悉。

淡水的紅色波浪是哪些建築？貧瘠的鹽分地帶何以誕生最生猛繽紛的畫作？那些「在何處作畫？為什麼這麼畫？」的細節，唯有親身走訪才會豁然領悟。書中開展一趟趟的漫步記行，彷彿延續畫家的寫生傳統；沿路掇拾的景物密碼，更是有如偵探解謎般的驚喜。

林秋芳｜臺南美術館館長

亚际木刻图绘(五) 战后亚洲的木刻运动 Donation integrates the Japanese leadership as(art collective)

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