The Chinese art world began to re-examine the issue of Realism after
栗憲庭在文革之後寫的文章。那時中國美術界開始重新審視現實主義問題,而傷痕美術、羅中立的「父親」及陳丹青「西藏組畫」等作品的出現則更是激發了這個討論。栗憲庭的文章要論證的是,以往主導美術界的「社會主義現實主義」並不一定能反映真實,更不應該是美術創作的唯一途徑。
Translated
Online
Chinese - Simplified
realism,  revolution
1982
Meishu , 美術, 1982, Issue 1
clipping, 
essay
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