【作者】 蔡青；

【导师】 邓福星；

【作者基本信息】 中国艺术研究院 ， 美术学， 2007， 博士

【摘要】 本文以“十七年”中国画作为主要的研究对象。论文从“十七年”中国画的发展脉络入手，——其发展呈现出马鞍式的发展态势。这是由50年代前期和50年代末到60年代初两个时间段的繁荣，同时和1957年的一度低谷组成。造成这种态势的原因主要是国家政策的变化。接着对“十七年”中国画的社会成因进行探讨。社会成因包括三个方面，即艺术发展的指导思想——“文艺为工农兵服务”、社会主义现实主义的单一创作手法、社会主义意识形态话语与民族国家话语的统一。本文认为，在“文艺为工农兵”服务的指导下，中国画不可避免地被加以改造，并从而提出了思想改造与深入生活两种方式作为当时中国画的主要改造方式。而社会主义现实主义的单一的创作方法又由于政治的影响，造成了对现实主义的偏离，而变为“社会主义”的集中代言。同时，在国家有意打造社会主义中国民族艺术的思想下，中国画作为社会主义内容与民族形式的代表之一，其中国画的民族形式如何适应社会主义内容的需要，有一定的演变过程，在这个演变过程中，中国画逐渐地形成了带有“十七年”的时代气息的样式和风格，但是中国画本体的语言也在进一步地被挖掘，笔墨产生了时代性的转变。然后对中国画家的处境和创作心态进行了探讨，认为“十七年”中国画的形成一方面是客观因素促使当时的国画家只能顺应环境，而另一方面则由于国画家自身对于新中国的认同，主观上也促使了“十七年”中国画的形成。在此基础上，总结出“十七年”中国画的艺术特征。从表现语言和图像样式两个方面进行阐述。从表现语言上看，“十七年”中国画主要从吸收西方写实技法和在写生中形成的笔墨创新两个方面进行拓展。而图像样式则在吸收中国古代政教功用的艺术作品和前苏联的主题性绘画语言并结合“十七年”的时代语境形成了独特的风格。最后归纳了“十七年”中国画的意义。本文认为“十七年”中国画在继承二十世纪以来“中西融合”的基础上，是由传统向现代转变的重要一步。现实主义的创作原则强调从生活出发，使传统中国画由消极避世转向积极的入世，改变了传统中国画的意境，使人物画得到了繁荣发展，在表现中由重视写生而改变了传统中国画自明清以来层层相袭的“笔笔有出处”的风气，将中国画恢复了生命力，并进而在“笔墨当随时代”的号召下创造出了笔墨的新的样式和风格。这样，重视笔墨的创新又成为时代的主题。更多还原

【Abstract】 This paper has studied mainly on the "17-year" Chinese printing, it begins with the development of the "17-year" Chinese printing which present on the devious evolution. This evolution included two period of flourishing time which is the former 50s as well as the time between the end of 50s and beginning of 60s, at the same time, together with the low descended time in 1957, the reason of this situation is caused mainly by the variety of state policy. Then the paper followed by the exploration on the social reason of the "17-year" Chinese printing, including three aspects, i.e., the directed thought of art development-"literature serve the workers, peasants and soldiers", the single creational way of socialism and realization, the expression unification of socialistic ideology and nation-state. This paper considered, in the direction of "literature serves the workers, peasants and soldiers", Chinese printing cannot avoid being reconstruction, accordingly, bringing forward two main way in rebuilding the Chinese printing, that is, thinking creation and embedding life. In addition, because the single creational way of socialism and realization were affect by politics, it was deviated from realization, therefore it became the centralized speech of "solecism". At the same time, in the thought of state consciously creation of socialistic Chinese national literature, Chinese paintings were used as one symbol for the content of solecism and the formation of nationalism, among them, how the national modality of Chinese painting adapted to the need of socialistic content had some evolutional processes, during this processes, Chinese painting gradually formed the era style and color of "17 years", however, the principal language of Chinese painting was further dug up and writings were turned up with the age . Then the paper probed into the situation and creational mind of Chinese painters, deemed that, one side the formation of "17-year" Chinese painting was the reason that the external situation urged the painters of that time to fit it, on the other hand, due to they themselves identified with the new china, this subjectively spurred the formation of "17 years" Chinese paintings. Based on the above discussion, this paper summed up the artistic characters of "17 years" Chinese painters. Then outspreading from two sides, i.e., the behaved language and pattern format, from the behaved language the "17-year" Chinese painters mainly absorbed the west writing technique as well as pen and ink innovation formed during sketch, while from pattern format, the "17-year" Chinese painters absorbed Chinese old -aged artistic writings and principal part painting from Soviet Russia, and formed unique styles after combined with era language situation of "17-year".At the end, the paper concluded the meaning of "17-year" Chinese painting, deemed that, on the basis of the inherited integration of "china and west" since 20 century, "17-year" Chinese painting was the important step of Chinese painting from convention to modern times. The creational principle of realism emphasized on the life, this caused Chinese painting turned from negative avoiding the word to active joined the world, and changed the artistic conception of conventional Chinese painting, bring the prospect and development of individual portraits, in behavior, "17-year" Chinese painting thought much of sketch, therefore, changed the ethos of similarity of Chinese conventional since the Ming and Qing dynasty and renewed the life of Chinese painting, furthermore, it created new manners and styles under the summon of "pen and ink should follow the era", in this manner, emphasis on pen and ink has become the era motif again.更多还原