读完《我与西藏组画》，我深深感受到了作者对西藏的热爱和对生活的热情。在书中，作者用生动的文字描绘了西藏的美丽风景和淳朴民风，让我仿佛身临其境。通过这本书，我更加了解了西藏的文化和历史，也更加珍惜生活中的美好。
我与西藏组画读后感篇一
这是一本页数很少的画册，附有的文字记录了画家创作期间的心理片段。
画家也是一个普通人，一样为自己的成长和对梦想的追寻而兴奋，也会在经历过后察知年轻时的浮躁。
和一种摄影观点一样，他创作的本质是诉说和占有。
这是一些我读出来的不成系统的东西。
1/3页我与西藏组画读后感篇二
陈丹青的西藏组画，正如陈丹青自己所说，西藏组画是他难以改口的标签。这是一本画册，收录了他两次入藏的画作与草稿。
除了细品他的画作以外，还看到了他的青春印记。他摘录了一些当时在西藏时的创作日记，在洁净无比的藏区，放肆自己的灵感，炫耀自己的企图。
作为一个曾经的愤青，他其实是暖的，所以才有了那些画布上的美丽。
坦诚珍贵。
2/3页我与西藏组画读后感篇三
（申明下，我没有看过这本书。只想讨论下标题里的问题。）
看到中国当代艺术史里提到陈丹青的西藏组画，我当时就纳闷为什么那个时候这么多人去画西藏题材？陈丹青也许是第一个掀起的这个风潮？不管怎么说，这个不重要，更大的好奇是，为什么西藏组画会在当时这么红？
考虑到当时的历史、政治背景，这难道不是很奇怪的事情吗？
网上看陈丹青的采访，讲他西藏组画的创作动机等，好像比较偏多私人情怀。他说，
“创作《西藏组画》的动机，和创作《泪水洒满丰收田》是一样的：“”中我希望模仿真正的苏联现实主义，画得像苏里科夫：“”结束后，我立即想要画得像米勒，像真正的法国现实主义，因为法国乡村画展来了中国，那次展览对我影响太大了，所谓影响，我以为就是开眼界，就是模仿的欲望。”
他还说，他也很惊讶《西藏组画》影响这么大。不管他自己怎么看，历史学家都有自己的看法，在我看来比较客观中性。所以抄一段，我感觉比较能答疑解惑我的疑问。有兴趣的同学可以耐心看看。
以下摘自学术论文：
“PAINTING IN CHINA AFTER THE CULTURAL REVOLUTION:
Style Developments and Theoretical Debates”
Part I: 1979-1985
作者： HANS VAN DIJK
‘Chen Danqing and the Sichuan School ’
“Simultaneous with "Scar-art", but much less controversial and appealing to a far greater number of artists working in all kinds of disciplines, was the interest in the depiction of life in the countryside and the cultures of China’s ethnic minorities. This interest had been aroused in many young artists who, like many of their generation, had been sent to the country-side at the end of the Cultural Revolution, and had there acquired first-hand knowledge of the life of farmers, herdsmen, and ethnic minorities. After their return to the cities, they looked back to the plain and rugged life of this period with feelings of nostalgia, which was reinforced by their confrontation with the straitjacket of official art policy. They came to identify urban culture with the trammels of politics and ideology, and compared it unfavorably to the authenticity of life in the country-side.
In the field of pictorial art, these feelings were felt to be the most adequately expressed in the paintings of Tibetans made by Chen Danqing (b. 1948), a Sichuanese and member of the "Contemporaries"; Group (Tongdairen). The religion, dress, and pastoral way life of the Tibetans stand in great contrast with the urban life of the Han-Chinese in the big cities, and Chen expressed this contrast in a series of seven paintings showing Tibetans paying a visit to a Han Chinese city. The sober grandeur in which he depicted the theme of alienation and confrontation immediately struck a sympathetic chord in the hearts of the post-Cultural Revolution Chinese urban south. The paintings took the public by storm, and also rapidly acquired international fame. Chen Danqing has been living and working in New York since 1982.”
才注意到，上面把陈丹青的出生年和籍贯搞错了，汗！
里面还提到，后来的西藏画跟随者有点跟过头了：
“In reaction to the invariably positive hero models of the socialist-realist propaganda art of the 1960s, they have concentrated on depicting feelings of insecurity, bewilderment, and open-mindedness. Unfortunately, in some cases this is done with so much emphasis that the result is often more melodramatic, depressive, or sentimental than psychologically refined. They also devote much care and precision to the detailed depiction of the texture of clothes and objects, a tendency which is pushed to extremes in the still life paintings and portraits by other artists working in more academic styles.”
是不是很有意思。陈丹青也可以看一下，哈哈，既然他自己也不甚理解为什么西藏组画地位这么高。
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