【作者】 贾世林；

【导师】 郎绍君；

【作者基本信息】 中国艺术研究院 ， 美术学， 2014， 博士

【摘要】 新中国成立后,毛泽东文艺思想成为新中国文艺占统治地位的指导思想,在文化领域为了建设新中国的文艺提出了“改造旧文艺”的问题。作为“旧文艺”之一种的中国画也面临着一个适应新时代提出的为工农兵服务、为现实政治服务的功能转换问题,因此美术界与国画家也适时提出了中国画改造的问题。为此,美术理论家与国画家在新的文艺思想的指导下进行了理论探讨与创作实践,在20世纪50年代形成了一场中国画改造运动,这个运动对后来的中国画发展产生了巨大的影响。但是究竟怎样进行中国画改造,由于没有可资借鉴的经验参考,所以不同人对这个问题的解决就产生了不同的理解。李可染是中国画改造运动的积极响应者与实践者,在当时文艺界全面接受毛泽东文艺思想,提倡艺术关注社会现实,面向生活,对传统采取批判接受态度的历史情境中,他提出了自己的中国画改造方案。在认同毛泽东“民族的、科学的、大众的”文化理想的前提下,他对文人画传统进行了批判,并对中外美术遗产提出了自己的接受见解,提出以“深入生活”与“接受遗产”为中国画改造的两个基本条件,在山水画领域进行了艰苦的探索实践,取得了历史性的成果。李可染在其山水画改造中引入对景写生,着意探索大自然无限的复杂性与丰富性,以此来接续“师造化”的中国画现实主义优秀传统,以写生为手段沟通自然景色的真实感描绘与传统笔墨的气韵与趣味的精神传达,从中寻找创新山水画的图式与语言。李可染借鉴西方风景画的表现方法,吸取西方素描写实技法,运用隐喻与象征的手法,在探索富于新的时代特色主题与意境表现中,用山水意象传达出其隐含政治意味的爱国主题,并着意于平衡与融合绘画的民族形式和西洋风景画的画面构成元素之间的内在张力,创造出了接近于现实的山水画新意境,探索新的民族形式,完成了传统山水画向现代山水画的范式转换。但新山水画与传统山水画相比也出现了真实与想象对立,精英意识与自由精神缺失的局限性,这是我们应吸取的历史经验。更多还原

【Abstract】 After the founding of the PRC, Mao Zedong thought became the dominant guidance in the field of literature and art, and it hence presented the issue of "renovating the old literature and art" in terms of new cultural construction. Given the political reality, as one of the "old artisic forms", Chinese painting was faced with the problem of how to serve the mass of workers, peasants and PLA, which made the circle of beauty art and Chinese painting artists put forward the proposal of renavtingthe traditional Chinese painting. Therefore, under the guidance of the new idea, the art theorists and painters beagan to launch a Chinese painting renovation movement in the1950s, which had a profound influence on the later development of Chinese painting. However, for the lack of prevoius experience, solutions on how to renovate Chinese painting varied from person to person at that time..Li Keran is a positive responser and practitioners in the renovation movement of Chinese painting. He put forward the reform scheme of Chinese painting on the condition of full acceptance of Mao Zedong Thought, which advates that literature and art care for soial reality, cater topeople’s life and critically adopt traditional elements. On the premises of identifying with a "scientific, popular and national" artistic ideal of Mao Zedong, he criticized the traditional literati paintings and expressed his view on accepting both Chinese and foreign art heritage, proposing two basic methods of renovatiing Chinese painting by going deep into life and inheriting legacy. Then he achieved a historic achievement after hard exploration and practice in the field of landscape painting.Li Keran introduced sketch into his landscape painting in his renovation, foucsing on manifesting the infinite complexity and beauty of nature, so as to continue the realism tradition of "learning from nature" in Chinese painting. Sketch serves as a tool of communication between the real natural scenery description and the spiritual convey of traditional ink and fun, and furthermore it can be employed to seek the schema and language suitable for landscape painting innovation. Li Keran absorbed the western drawing realistic techniques and borrowed metaphor and symbolism from the western landscape painting performance means. He succeeded in finding conveying patriotism implied with political feature through the images of mountains and waters and concentrating on the balance and integration of traditional painting style and the inherent tension between elements of western landscape painting. By these means, Li Keran managed to create an unprecedented close-to-reality artistic conception of landscape painting, accomplishing the transformation from traditional landscape painting to modern paradigm. But compared with the traditional landscape painting, the new landscape painting has such problem as the opposition between reality and imagination, the lack of elite consciousness and the spirit of freedom, which is the historical experience we should learn from.更多还原