【作者】 董雷；

【导师】 张晓凌；

【作者基本信息】 中国艺术研究院 ， 美术学， 2010， 博士

【摘要】 现实主义美术作为20世纪中国美术发展进程中最为重要的创作方式和思潮,在很长一段时期内都受到人们的广泛关注。时至今日,现实主义美术在中国已经走过了近百年的发展历史。特别是改革开放以来的30年,是现实主义美术发生重大转折的时期,从短暂的复兴、被边缘化到今天对现实主义美术的重新关注,现实主义美术似乎又开始了一个新的轮回,而如何认识当下的现实主义美术?新现实主义美术与传统现实主义美术存在哪些不同?新现实主义美术在当今历史语境下的中国美术界占有什么样的地位?新现实主义美术之路会走向何方?这些都是在历史转型期人们对现实主义美术存在的诸多疑问。理清这些问题,对现实主义美术的发展具有至关重要的意义。本文工作的重点,是在对1978至2008这30年间现实主义美术的发展历程进行系统梳理与呈现的同时,根据不同时期出现的艺术家和作品,以及影响这一时期艺术创作的思潮、观念和文化政策等背景因素,对这30年的现实主义美术发展进行阶段性划分。而划分的意义就在于,不仅要找到不同时期现实主义美术创作风格形成的内在原因,以及现实主义美术所呈现出的种种形态及样式的价值,还要找到彼此之间相互依存、影响乃至抵制和反叛的内在关联,从而呈现新现实主义美术发展30年的一个完整的生态图谱。全文除导言和余论外共分为四章,也正体现出笔者对30年来现实主义美术发展分期的认识和判断。在导言中,首先对现实主义美术的发展历史,特别是自五四新文化运动时期进入中国并逐渐被认知、接受、改造和发展的过程进行简单的回溯,从一定程度上呈现传统现实主义美术的形态特征,进而形成与新现实主义美术的比较。此外,导言中还说明了本文选题的意义、选题的研究现状以及文章的创新点和论文的整体结构。第一章是伤痕美术时期,通过对后文革时期社会思潮、观念的呈现,揭示伤痕美术以及四川画派群体作品中人性反思的特质及成因。第二章是乡土写实主义,笔者认为这是85新潮美术之前现实主义美术的一个发展高峰。在本章对陈丹青、罗中立、何多苓进行了个案分析,通过以三人为代表的生活流、农民风和知青美术的研究,呈现乡土写实主义美术的独特形态和历史价值。第三章是后八九时期的新生代群体和玩世现实主义,在本章对后89特定时期的艺术生态以及新生代艺术家群体的形成和发展过程进行了细致的阐述。特别是对玩世、泼皮、艳俗等特殊历史时期艺术家的审美追求的动因进行了深入的分析和探讨。并且此章还要否定一直以来人们对现实主义与现代主义之间关系的片面理解,并提出了笔者个人的理解和看法。第四章是本文的重点章节,对20世纪90年代中期以后现实主义美术的快速复兴与发展进行理论阐释和现象呈现。阐述了现实主义美术逐步从边缘回归主流的过程以及重建现实主义美术当代性的价值,同时对这一时期的现实主义艺术家,根据表现题材、创作方式以及关注问题等的不同进行群体划分,并通过大量的作品分析,在呈现新现实主义美术多样性面貌的同时,让读者能够明.辨新现实主义美术与传统现实主义美术之间的差异。余论是基于新现实主义美术的特征及发展状态得出的判断,即现实主义美术重返主流将是其发展的历史必然。更多还原

【Abstract】 As the most important creative style and thought of the 20th century’s Chinese art procession, the realism art has always been concerned widely. Today, the realism art in China has gone through nearly a hundred years history of development. Especially, the reform and opening up 30 years is the major transitional period of the realism art-from the short-lived revival, marginalized and today’s renewed focus on it, the realism art seems to be the beginning of a new cycle of. And how to understand the neo-realism art; the difference between the neo-realism art and the traditional realism art; what kind of position of the neo-realism art under today’s art world; and where is the neo-realism art going. All of these are the questions about the neo-realism art under the historical transition. Getting out of the mess of these problems is critical important to the development of the realism art.The focus of my text is combing and showing up the history of the realism art which from the year 1978 to 2008, meanwhile periodic dividing the realism art based on artists and works emerged in different periods during the 30years, as well as the thoughts, ideas and cultural policy context which had impacted artistic creation during this period.The significance of classification lies in the fact, not only finding out the underlying cause that how the realism art creative styles had shaped at different times, and the value of various forms and styles which the realism art has shown, but also finding out the underlying connect of mutual interdependence, impact and even rebellion, thus we can render a complete ecological patterns of the neo-realism art development during the 30years.Besides the introduction and other discussion, the text is divided into four chapters, that embodies the author’s understanding and judgments on the realism art development stages during the past 30years. In the introduction, I first give a simple backtracking on the development history of the realism art, especially the process since the New Culture Movement in China, it had been gradually realized, accepted and rebuilded. This could present the conformation characteristics of the traditional realism art on a certain extent and become the comparison between the neo-realism art. In addition, the introduction also describes the significance of these article topics, the status of it, the article’s innovative point and the overall structure.The first chapter is scar art time, reveals the characteristics and causes of human nature in the works of the scars as well as the Sichuan School of painting group through showing the social thoughts and ideas in the post Cultural Revolution. Chapter two is representative of the local realism, I think this is a development peak of the realism art before 1985’s trendy art. I take Chen Danqing, Luo Zhongli and He Duoling as cases to analysis, thus showing the special form and historical value of the local realism art through the studies of this three people’s represented of consciousness stream, farmer wind and educated youth art. Chapter three is presented the cynical realism art during the post 1989 period. In the chapter, I have taken a detailed elaboration about the specific period post 1989’s artistic ecology as well as the formation and development process of the artistic new generation. Especially analysis and discuss deeply on the motivation of artists’ aesthetic pursuit in the special history time as cynicism, Popi, gaudiness and so on. And this chapter would also like to deny the one-sided understanding of the relationship between the realism and modernism, and I have come up with my own understanding and views. Chapter four is the focus chapter of this article, to give a theoretical interpretation and phenomenon showing about the rapid recovery and development of the realism art during the time after mid 20th century. I have shown the process that the realism art returning to the mainstream from the edge step by step, and the contemporary value of reconstructing the realism art. At the same time, I have shown the realistic artists of this period as group-oriented presentation according to their performance of subjects, creative methods and attention to the different issues. And through a large number of works of analysis, the readers can distinguish the difference between the neo-realism art and the traditional realism art while showing the various styles of the neo-realism art. The other discussion is based on the judgment of the neo-realism art’s features and development state, that the realism art return to the mainstream art history is inevitable.更多还原