周令钊：20世纪艺术与设计史中的个案研究

发布时间：2018-04-09 04:05

  本文选题：周令钊　切入点：时代与艺术家　出处：《中央美术学院》2016年博士论文

【摘要】：在各大媒体的报道中,周令钊是中国著名艺术家、著名设计师,是新中国一系列国家形象设计项目的参与者和见证者。在美术史研究中,周令钊是进入正史的艺术家。在设计艺术研究中,周令钊的装饰风格成为了时代经典。周令钊在艺术与设计之间游刃有余地“两栖作战”,在各种艺术史料中却没有得到充分完整的呈现,公众舆论及人们对他的认知,往往只还原了某个片面。在各种媒体报道中,周令钊是位勤奋多产的艺术家；在日常生活中,周令钊是个单纯乐观的老人,只知道把画画好,国家交给什么任务,就认认真真把它完成。他不爱空谈政治,但在关键时刻坚定不移地选择紧紧跟随共产党。他坚定而笃信进步的理想,抗战时期为民族发声,新中国成立后为国家出力。周令钊每个时代的转向,既有共产党的引导和召唤,又是他自身修养和艺术情怀共同作用的结果。本论文试图串联各种“碎片”化局部的周令钊形象,形成一个相对完整的概念。同时,在这个概念的基础上,尽力梳理周令钊与时代、共产党与艺术知识分子之间的关系。最后,探讨周令钊个人经验融于时代、政治的路径与可能性,以及艺术家的理想与时代需要之间的契合。本论文的主要内容为第二、三、四章。第二章阐述周令钊在抗战时期的节点与创作。在民族危亡的关头,他毅然放弃个人的安逸生活,投身于抗战宣传工作,这种自觉性带领他顺理成章地完成了商业广告设计师到抗战宣传艺术家的身份转变。在商业利益和民族需要形成尖锐对抗中,周令钊选择了艺术追求与民族需要的统一。此时期周令钊留存的作品并不多,此章重点梳理其进步思想的来龙去脉、辗转节点和其中共产党人的作用。第三章以周令钊新中国成立后的国家视觉设计为文本,阐述他笔下的民族传统样式如何转变为一种现代民族国家的自我表征,即代表了传统,又表明了新意。周令钊作品中的民族传统样式,是国家需要和艺术家们创作热情的匹配。其中形式的选择,多是艺术家结合自己的知识储备和对新中国的理解的主动选择。第四章以新中国成立后周令钊的其他创作为文本,阐述周令钊对新生活由衷的赞美和想象如何通过艺术美的表现方式投射到创作之中。新中国成立为艺术家提供了稳定的生活和创作环境,此时周令钊进入了一个创作的高产期,艺术日臻成熟。通过周令钊的个案分析,表明艺术家的个人兴趣和国家需要之间,存在一种微妙的关系。
[Abstract]:In various media reports, Zhou Linzhao is a famous Chinese artist, designer, participant and witness of a series of national image design projects in New China.In the study of art history, Zhou Linzhao was an artist who entered the official history.In the study of design art, Zhou Linzhao's decorative style has become a classic of the times.Zhou Linzhao's "amphibious battle" between art and design has not been fully presented in all kinds of art historical materials. Public opinion and people's cognition of him often only restore some one-sided situation.In all kinds of media reports, Zhou Linzhao is a diligent and productive artist. In daily life, Zhou Linzhao is a simple optimistic old man.He does not like to talk about politics, but at critical times he firmly chooses to stick with the Communist Party.He firmly and firmly believed in the ideal of progress, during the War of Resistance to speak for the nation, after the founding of New China for the country.Zhou Linzhao's turn of every era is not only the guidance and call of the Communist Party, but also the result of his own cultivation and artistic feelings.This paper attempts to concatenate various "fragments" of the local image of Zhou Linzhao, forming a relatively complete concept.At the same time, on the basis of this concept, we try to sort out the relationship between Zhou Linzhao and the times, the Communist Party and the art intellectuals.Finally, the author discusses the combination of Zhou Linzhao's personal experience with the times, the path and possibility of politics, and the artist's ideal and the needs of the times.The main contents of this thesis are the second, third and fourth chapters.The second chapter elaborates Zhou Linzhao's joint and creation during the War of Resistance against Japan.At the critical moment of national crisis, he resolutely gave up his personal life and devoted himself to the propaganda work of the War of Resistance against Japan. This consciousness led him to complete the transformation of his identity as a commercial advertising designer to a propagandist artist of the War of Resistance against Japan.In the sharp confrontation between commercial interests and national needs, Zhou Linzhao chose the unity of artistic pursuit and national needs.Zhou Linzhao did not have many works in this period.The third chapter takes Zhou Linzhao's national visual design after the founding of New China as the text to explain how his national traditional style is transformed into a modern nation-state 's self-representation, which represents the tradition and shows the new meaning.The traditional national style in Zhou Linzhao's works is a match between the national needs and the creative enthusiasm of the artists.The choice of form is mostly the active choice of the artists combining their knowledge reserves and understanding of the new China.The fourth chapter takes Zhou Lingzhao's other works after the founding of New China as the text to explain how Zhou Linzhao's sincere praise and imagination of the new life can be projected into the creation by artistic beauty.The founding of New China provided a stable living and creating environment for artists. At this time Zhou Linzhao entered a period of high production and art was maturing day by day.Zhou Linzhao's case study shows that there is a subtle relationship between the artist's personal interest and national needs.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J509.2
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本文编号：1724753