20世纪中国情节性绘画研究

【作者】 杜龙琪；

【导师】 郭北平；

【作者基本信息】 西安美术学院 ， 美术学， 2010， 博士

【摘要】 情节性绘画在20世纪中国绘画发展中占有重要地位。本论文对20世纪中国情节性绘画进行梳理,探讨其兴起、兴盛至式微的过程,分析在此过程中起决定性作用的各方面因素。本文采取艺术社会学、历史学和图像分析等方法进行研究。论文分为四章:第一章论述情节性绘画的概念,以及它的特性。分析中西方情节性绘画大致的发展脉络,作为20世纪中国情节性绘画发展的一个参照背景。第二章论述1949年之前的情节性绘画。包括二十世纪情节性绘画的先声,徐悲鸿的艺术主张与情节性绘画,鲁迅所倡导的左翼木刻与情节性绘画,抗战与情节性绘画的大量兴起,《讲话》与情节性绘画五部分内容。主要分析情节性绘画是由那些因素推动,促进其兴起的。分析三个具有代表性的人物及其主张在情节性绘画发展中所起的作用。第三章论述1949年之后的情节性绘画。包括新年画运动和中国画的改造对情节性绘画的影响,知识分子改造对绘画的影响,苏联社会主义现实主义与情节性绘画,“三面红旗”“两结合”与“社会主义教育”中的情节性绘画,文革美术中的情节性绘画,伤痕美术中的情节性绘画和向乡土现实主义转变,情节性绘画淡出历史舞台这些内容。建国后美术的发展受控于体制之下,情节性绘画因为其在将国家意识形态用群众喜闻乐见的方式表现方面所拥有的优势而成为绘画的主流,并随着政治形势的变化转换着不同的主题。情节性绘画的淡出既是绘画内在规律的反应,也显示了去政治化之后绘画的自然状态。第四章论述几个关键问题,分析情节性绘画发展的四个阶段,对二十世纪中国情节性绘画发展进行总体概括。情节性绘画的淡出是由于情节叙事与绘画本体语言之间的矛盾性所决定,由此对情节性绘画的内在矛盾在不同时期的表现进行分析。情节性绘画的兴盛究其根本原因是意识形态的宣传需要和大众审美以及读图方式之间的契合。由此通过对情节性绘画与大众审美的关系进行分析,对情节性绘画与国家意识形态的话语构建的关系进行分析,以期对此问题进行深度思考。本论文首次对我国二十世纪的情节性绘画的发展进行研究,通过研究揭示了其兴盛和式微的基本原因,为研究此问题提供个人的思考和拙见。更多还原

【Abstract】 Narrative painting occupied an important position in the 20th Century Chinese painting development. This paper of the 20th Century Chinese narrative painting mainly to sort out the process on its rise, prosperity and decline , analysis in the process of the decisive factors in all aspects. This article adopts methods of artistic sociology, history and iconography to conduct the research.The paper divides into four chapters:The first chapter deals with the concept of narrative painting as well as its features. Analysis of the western and Chinese narrative painting’s general development paths, as a reference background on narrative painting development in 20th century.The second chapter deals with the narrative painting before 1949, including five parts, Such as the pioneer of narrative painting, Xu Beihong’s ideas and narrative painting, the leftwing woodcut which advocated by Lu Xun and narrative painting, Anti-Japanese War and the narrative paintings emerge massively, Yan an“speech”and narrative painting. Mainly analysis the facts by which the narrative painting have being promoted and facilitated its emergence. Analysis of three representative figures and their advocates how to played a role in the development of the narrative paintingThe third chapter deals with the narrative painting after 1949. Consist of New Year paintings movement and the transformation of the traditional Chinese paintings with its influence on the development of narrative painting. The Intellectual transformation and it impact on painting. The former Soviet Union Socialist realism and narrative painting, narrative painting in the "Three Red Banners" "combine" and "socialist education", the Cultural Revolution art and narrative painting, narrative painting in“Scar”art and its Transform into native realism, The narrative painting fade out the stage of history. After the founding of People’s Republic of China, the development of art controlled by the system, The narrative painting becomes the mainstream of painting for it advantages in transformation national ideology into the masses lovely way, and converts a different themes with the political development, Narrative painting’s fade out not only shown the internal law of painting, but also shown the painting natural state after de-political.The fourth chapter deals with several key issues: analysis the four stages of narrative painting and provide an overview of the twentieth century Chinese narrative painting .Fade out of the narrative painting is due to the contradictory nature between the narrative and of ontology language of painting, thereby to analysis the representation of narrative painting inner contradictory at different times. The basic reason for prosperous of narrative painting is the ideology propaganda needs conjunction with the popular aesthetic and interpret painting method. Therefore carries on the analysis to the narrative painting and populace’s esthetic relations, Analysis of the relationship between the narrative painting and Country’s ideology propaganda needs, the purpose is to conduct in-depth reflection on this issue. Finally is this article’s conclusion.This paper has for the first time studied our country’s narrative painting development in the 20th century, the research has revealed the basic reasons for its prosperity and decline , provided personal thinking and humble opinion to study this issue..更多还原