【作者】 李朝霞；

【导师】 郑工；

【作者基本信息】 中国艺术研究院 ， 美术学， 2010， 博士

【摘要】 本文通过1950-1966年《美术》杂志及相关内容,探讨在“新中国的美术观”指导下的美术话语如何形成以及形成的机制,剖析这一时段中国美术的基本特征。《美术》杂志是中国美术家协会的机关刊物,受中国共产党的领导,在美术界贯彻执行党的文艺方针和政策,团结全国的美术家,利用舆论工具为社会主义的新美术服务。新中国美术的核心价值观是社会主义,其指导思想是毛泽东的文艺观,其理论话语是社会主义现实主义,并逐步形成了大众主义的美术话语、民族主义的美术话语及具有科学主义倾向的美术话语体系。在具体的话语实践中,有政策性的引导、理论性的批评、组织策划的讨论、各种消息的报道。前后121期的刊物既体现了话语的丰富性,同时也呈现了话语的敞开方式以及难以避免的遮蔽现象。文艺的政治化是20世纪较为普遍的现象。在中国,这种政治化的文艺思潮直接依靠国家体制,在国家意识形态的调控下逐步形成,并左右着全国性的美术创作活动。也许,我们还不能用“百废待兴”这个词去看待新中国十七年的美术,但却可以用“破旧立新”一词说明这一时期美术思潮的基本性质。毫无疑问,那是一个翻天覆地的大变化时代,不仅国家政治体制变了,国家意识形态变了,在美术创作上,也面临着思想的大转变与创作方法的大统一,而《美术》杂志也就在新中国美术思想阵地中占有举足轻重的地位。新思想具有横扫一切的趋势,而这时必然存在着适应与不适应,顺畅与不顺畅,配合与不配合,改造与不改造等诸种问题,这些都会通过话语的种种方式得以反映。本文从四个方面,即“话语平台”、“话语实践”(含三个部分——“大众化”、“民族化”与“科学化”)、“话语的敞开与规避”及“话语的生产与传播”,系统地梳理这一时期《美术》杂志在新中国美术的话语实践中所作的努力及其结果,为新中国美术观的最初实践提供一个相应的历史阐释。第一章是“话语平台”,主要阐述新中国的美术观历史来源及现实基础。共有三小节：一是“五四”的新文艺观；二是社会主义现实主义的文艺观；三是革命现实主义和革命浪漫主义的文艺观。“五四”新文艺是在欧洲启蒙思想影响下形成的一种新的文艺形态,与马克思的阶级观及现实主义的批判精神密切相关；而社会主义现实主义的文艺观来自前苏联,具有明确的阶级性与政党色彩；革命现实主义与革命浪漫主义相结合的文艺观,是五十年代由毛泽东提出,其标志着无产阶级文艺观的中国立场。第二章是“话语实践”的第一部分,主要分析大众主义的美术话语及其实践。面向大众,尤其是为广大工农兵群众服务的文艺观,自毛泽东《在延安文艺座谈会上的讲话》时就明确提出,建国后便全面推行,贯彻到美术创作的方方面面。其具体体现为创作为群众“喜闻乐见”的艺术作品,同时推进工农兵美术创作活动,与“国画改造”运动相配合,重新讨论“雅”“俗”问题,美术创作开始朝向政治化,注重题材,强调主题,围绕形势,配合宣传。在大众化的美术运动中,美术也就成为政治斗争或阶级斗争的工具。因此,本章分三小节加以论述：一是“大众化”形象；二是“政治化”主题；三是“民俗化”方式。第三章是“话语实践”的第二部分,主要分析民族主义的美术话语及其实践。“新中国美术观”十分强调中华民族的现代文化自立,强调现代中国的国格自觉。建国伊始,当我们接受了前苏联的“社会主义现实主义”时,就有人提出“社会主义的民族的现实主义”一说,意识形态的认同和民族主体性焦虑同样都很突出；紧接着,美术界又分别在中国画领域及西洋画领域开展对传统笔墨的问题讨论及油画民族化问题的讨论,追求美术的中国作风和中国气派,使社会主义话语和民族主体性话语相统一。因此,本章分四节加以论述：一是“社会主义的民族的现实主义”；二是“现代彩墨”；三是“传统笔墨”；四是“意象油画”。第四章是“话语实践”的第三部分,主要分析科学主义的美术话语及其实践。科学主义的思潮伴随着新技术革命几乎席卷20世纪的所有领域,“五四”新文化运动,就提出请“赛先生”(science)来改造中国。科学,讲究事实与规律,而科学主义的美术话语除了崇尚写实精神外,也包含着意识形态化的技术问题讨论,并由此延及个人手法与创作风格,出现意识形态化的现象。因此,本章分两节加以论述：一是真实论与“写实性”；二是规律性与“典型”论。其中,引入一些典型的创作事例来分析论证。第五章是“话语的敞开与遮蔽”,采用个案分析的方法,通过《美术》杂志对王式廓、林风眠、石鲁三人作品的不同态度,来分析新中国美术观需要哪些美术话语。因此,本章分三节加以论述：一是培育现实主义话语；二是削弱个体性话语；三是肯定富有积极意义的话语创新。第六章是“话语的生产与传播”,主要论述美术话语的生产体制、生产方式、以及它的传播载体与传播策略。批评文本就是话语的产品形式,也是话语流行的主要载体。而《美术》杂志本身就是体制的产物,故其一方面是新中国美术话语的生产者；另一方面又是新中国美术话语的传播者,其编辑思想与编辑工作,既在领会并推行国家的文艺政策,又在上下沟通,引导全国的美术创作方向。因此,本章分三节加以论述：一是王朝闻的美术批评；二是“美协”体制与画家的认同意识；三是《美术》杂志的编辑及策划选题。更多还原

【Abstract】 By "The Art" magazine (1950-1966) and related content, this paper attempted to explore the formation and formation mechanism of art discourse under the guidance of "the art concept of PRC ", analyzed basic Art characteristics of PRC in the period."The Art" is a magazine of the states organ as Chinese Artists Association, and accepts the leadership of the Chinese Communist Party, implements the Party’s literary and artistic principles and policies in the arts community, unites China’s artists, uses tools of mass media services for the new socialist art. Therefore, core values of the new Chinese art is Socialism, its guiding ideology is Mao Zedong’s literary and artistic concept, its theoretical discourse is socialist realism, and gradually formed a public discourse of art, national art discourse and the scientific tendencies of art discourse. In a specific discursive practice, there are guidance in policy, there are theoretical criticism, organized planning discussions, and various news reports, around these 121 volumes embody the richness of discourse, and also present the open approach of discourse and the masking phenomenon that was finally difficult to avoid.The political art was more common as a social phenomenon in the 20th century. In China, the kind of political-oriented literary and artistic ideological trend directly depended on the country’s state system, gradually formation under the control of ideology, and it also controlled the national art creative activities. Perhaps, we are not able to view the art of these seventeen years of New China as "undone", but can use the word like "new channels" to describe the fundamental nature of art ideological trend in this period. There is no doubt that it was a great earth-shaking change in that time, not only the country’s political system was changed, and the state ideology also had been changed. In Fine Arts creation, people also faced with major changes in thinking and unified creative methods, and "The Art" magazine occupied a pivotal position in ideological fields of the Fine Arts of New China. New ideas came with a sweeping trend, then there had to be a situation of adaptation or not, smooth and non-smooth, cooperation or not, transformation and non-transformation and so on, which could be reflected through the various discourse ways. In this paper, four aspects, which are named, "Discourse platform", "Discursive practice" (including these three parts "popularization", "nationalization" and "scientific"), "openness and cover of discourse" and "production and dissemination of discourse",systematic reorganize the efforts and the results of "The Art "magazine of this period in the new Chinese art of discourse practice, to provide a corresponding historical interpretation for the initial practice of the "the concept of PRC art".The first chapter is "discourse platform", which traced the origin of history and realistic basis of "the concept of PRC art". There are three sections:the first one explained the new concept of literature and art of "5.4";the second one explained the concept of literature and art of socialist realism. Third, analyzed concept of literature and art of the combination of "revolutionary realism and revolutionary romanticism". The new literature and art of "5.4" was a new form influenced by European Enlightenment, it was closely related to Marx’s class concept and the critical spirit of realism; the concept of socialist realism in literature and art was from the former Soviet Union, with a clear class nature and political color; as well as concept of literature and art of the combination of "revolutionary realism and revolutionary romanticism",which was proposed by Mao Zedong in the nineteen fifties, marked the Chinese position of concept of literature and art of the proletarian.The second chapter is the first part of "discourse practice", which analyzed the massism art discourse and practice. Serving for the general public, especially for the broad masses of workers、peasants、soldiers, had been explicitly advanced by Mao Zedong speech on Literature and art Forum in Yan’an, had got the full implementation after the founding of nation, and implemented all aspects of the arts. Concrete expression:creats works of art that the masses "loved", while promoting arts’ creative activities for the workers、peasants、soldiers, with the "traditional Chinese painting reforming" movement, re-discussed the "elegant" and "vulgar" problem. Creation of arts begun to move towards the politicization, focused on themes, emphasized the theme, around the situation, and coordinated the publicity. In the popular art movement, arts had become a tool in political struggle or class struggle. Therefore, the chapter is divided into three sections to be addressed. The first, popular image, the second, political theme, the third, folk-oriented approach.The third chapter is the second part of "discourse practice", which analyzed of nationalism discourse and its practice. "The concept of PRC art" put great emphasis on self-reliance of the modern culture of Chinese, emphasized the consciousness of China’s national dignity. At the beginning of the founding of our nation, when we accepted "socialist realism" of the former Soviet Union, someone advanced that "socialist national realism". The ideological identity and national anxiety were both prominent. Shortly, there was discussions of traditional ink in the field of Chinese painting and that of nationalization of Chinese oil painting, seeking Chinese style as well as Chinese manner of fine arts, so that unified socialism discourse and national discourse. The chapter, therefore, is divided into four sections to be addressed. The first is "socialist national realism", the second is "modern color ink of Chinese painting", the third is the "traditional ink", and the fourth is "image oil painting".The fourth chapter is the third part of "discourse practice", which analyzed art discourse and practice of scientism. Scientism ideological trend had swept almost all the fields of the 20th century with the new technological revolution. The "New Culture Movement" in the period of "5.4", proposed for "Mr. Science" to transform China. Science, which pays its attention to the facts and the law. Art discourse of scientism advocated the spirit of realism, and also contained the ideological discussion of technical issues, and thus extended to the field of personal approach and creative style, then created the ideological phenomenon. This chapter, therefore, is divided into two sections to be addressed. First, Realism and the "realism", and second, regularity and "typical" theory. Among them, there are also the creations of the introduction of some typical examples.Chapter V is "openness and cover of discourse ", by means of the case analysis, analyzed different attitudes which "The Art" magazine adopted for works of Wang Shikuo, Lin Fengmian and Shi Lu and then finds out what discourses are needed by the concept of PRC art. Therefore, this chapter is to be discussed in three sessions:first, cultivating realistic discourse; second, weakening the discourse with individual nature; third, affirming discourse innovation full of positive meaning.Chapter VI is "the production and dissemination of discourse", which discussed the production system, production methods, transmission vector and dissemination strategies of art discourse. Criticism text are the productive forms of discourse, but also the main carrier of discourse dissemination. "The Art" magazine itself was a product of states system:on the one hand, it was the producer of the new Chinese art discourse, on the other hand, it was the disseminator of Chinese art discourse, its editorial ideas and editorial work, both in understanding and promotion of national arts policy, but also communication up and down, guided the direction of the country’s artistic creation. Therefore, this chapter is to be discussed in three sessions:The first, Wang Zhaowen art criticism;the second, "Association" system and the artist’s consciousness of identity; the third, "The Art" magazine’s editors and topics of planning.更多还原