“他说”与“自问”-从农民题材美术作品中看新中国当代农民社会地位的变徖

发布时间：2018-06-08 05:25

本文选题：农民题材绘画 + 他说　；参考：《山东建筑大学》2017年硕士论文

【摘要】：自新中国建国后,绘画艺术中的农民形象有着较为系统的形式,中外学者和艺术家曾通过社会学的解读、图像学的演进、意识形态的分析等视点对中国农民形象进行过系统的研究。这几种独特的方法与视角,都很好的对农民形象进行不同层面的解读,使观者对于中国农民的形象有了深入全面的理解。正因为有了之前的研究,才为本篇论文的撰写提供了丰富的理论基础,为本文从农民题材绘画中分析中国农民社会地位的变迁的主旨提供论述的可能性。本文从图像学理论出发,以“毛泽东时代美术”到21世纪美术的时间线索,纵观中国现当代各类绘画中突出的农民题材绘画,分析各个时代农民形象的社会底蕴以此总结出每一时代农民社会地位的真实存在,最终归纳出中国农民社会地位的变迁轨迹。基于对不同时期、不同历史语境下的农民形象存在着不同的表达方式,农民形象究竟是一种自主自为的主人翁状态还是被人言说任人摆布的客体状态。从“他说”与“自问”的角度看农民形象是如何演变的,这需要我们在这特定时空下对农民形象的表象与社会根源之间的联系做出深层剖析才能理解农民形象的时代风貌。同时,针对于农民形象的时代风貌与国家形象之间的关系,也是我们需要考虑的客观存在,在主观意识形态中建立两者之间的联系,使两者之间相统一的状态能更好的共同铸造当今伟大的中国和坚毅的农民形象。改革开放时期人道主义影响了中国艺术创作,农民形象也有着很大的变化,在这种变化之下农民主体意识渐渐增强。本文从分析农民题材绘画作品出发,通过对绘画作品所描绘的农民形象,分析各时期农民所处的真实环境及对农民的影响,并将逻辑起点上升到农民群众主体意识的演进上,通过这种主体意识的变化来分析农民地位的变化,这种农民的地位包括农民心理上的自我定位与客观社会地位两方面。本文分为七大部分:绪论部分,综合阐述了选题的目的及意义,通过对文献的阅读与归纳,总结分析该论点的国内外研究现状,并通过对艺术学方法论的学习阐述了本文的研究方法。第一章,宏观的概括了农民题材绘画的概念及研究范围,并分析了中国现当代农民绘画的发展演变以及关于农民形象题材绘画的特性,并重点解释了本篇论文的两大研究视点“他说”与“自问”。阐述了“他说”是一种艺术家将农民形象作为客体的进行描绘,但这种描绘并不是完全的遵照社会现实,而是在一种政治话语的威严下进行的一种带有政治色彩的描绘。“观念先行”下创作主体对农民形象的认识反映在画面上,从中读出一种农民形象主体意识的边缘化现实。“自问”是在新时期的一种农民主体意识的表现,农民开始认真思考、艺术家也对农民形象的描绘进行反思,开始真正的自己去感受自己存在的价值与意义。第二章,系统全面的分析了1942年至1976年“毛泽东时代美术”时期的代表性农民题材绘画作品,归纳总结了各时期农民题材绘画中农民的具体形象,并从这些形象中结合现实生活以及政治生活来分析农民真实的社会地位。这一时期的农民虽然在中国革命史上占有重要的地位,但就真实生活而言他们仍是作为一种客体存在于作品中,虽然看似是主人翁,但却缺少主人翁最必不可少的主体意识。第三章,通过对“毛泽东时代美术”中农民形象的总结,时代转入新时期,在经历到新时期之间的过渡成为本章节主要研究对象。在此章节中主要通过分析艺术家从客观到主观创作的变化以及农民形象从主人翁到看客的角色转变,最终分析出农民主体意识从无到有的一种质的改变提供理论支撑。第四章,中国美术进入新时期后农民形象发生实质变化后艺术家便将创作重心转移到恢复农民最真实的本质上来,关注农民真实生活,反映农民疾苦,使创作走上了一条人道主义道路。在全球艺术语境下农民题材美术作品的表现形式增加,不再完全服务于政治,而是接档了艺术家的创作自由,进一步释放农民形象的真实与生动。通过对新时期农民形象以及农民工特殊群体的描绘,分析农民陷入迷茫的一种状态以及主体意识的渐渐恢复。经济大潮中迷失掉的农民形象的社会地位重回低谷,农民社会地位更加不受重视。但这一时期确是农民主体意识高涨的时期,农民真正的开始为自己思考,开始思考自己的人生以及自己存在的意义。进入21世纪后,农民在经济飞速发展的进程中被城市异化,由“主人公”沦为“看客”,在这种现状下,农民该何去何从。艺术家绘画创作手法的多变以及绘画出发角度的改变也像清泉一般滋润着21世纪的农民,带来一种属于农民,属于农民工的新生时代。第五章,此章节重点分析了农民被城市异化的具体表现,艺术家将这种异化展现在画面上,直击观众的心灵。农民被城市异化后努力寻求同化,在追求同化的过程中升华自己、充实自己。从寻求社会认同下渐渐转为求得自身的认同感,承认自己,肯定自己,在逆境中渐渐形成强大的主体意识,也渐渐动摇着身份低下的现状。结论部分,统筹全文上下,将农民形象以及农民社会地位的变现作总结性归纳,并引出中国农民该何去何从,怎样在飞速发展的中国立足,中国农民应该以怎样的精神面貌去适应社会真正的使成为世界的一份子。本篇论文在对农民形象的分析研究中充分考量了政治话语及艺术家主体意识的重要性,通过两者引出中国农民形象的主体意识。笔者放眼整个中国的近代美术,又加入新鲜元素,将农民题材绘画中的农民形象分析的有滋有味,并最终回归本文主旨分析出中国农民社会地位的变迁。
[Abstract]:Since the founding of new China, the image of farmers in the art of painting has a more systematic form. Chinese and foreign scholars and artists have done a systematic study of the Chinese farmers' image through the interpretation of sociology, the evolution of iconography, the analysis of ideology and so on. These unique methods and perspectives are all very good to the farmers' image. The interpretation of the same level makes the viewer have a thorough and comprehensive understanding of the image of Chinese farmers. It is just because of the previous study that it provides a rich theoretical basis for the writing of this paper, and provides a possibility for the analysis of the theme of the changes in the social status of the Chinese peasants from the farmer's subject painting. On the basis of "Mao Zedong's art of art" to the time clue of art in twenty-first Century, a survey of the prominent peasant theme paintings in all kinds of paintings in modern and contemporary China, and the analysis of the social details of the image of farmers in various times, summed up the real existence of the social status of the peasants in each era, and finally summed up the change track of the social status of the Chinese peasants. On the basis of different historical contexts, there are different expressions in the image of farmers in different historical contexts. The farmers' image is a state of self ownership or the object state of the people. From the perspective of "he said" and "self questioning", how the peasant image evolves, which requires us in this particular time and space. The relationship between the image of the peasant image and the social root can be deeply analyzed to understand the age and features of the peasant image. At the same time, the relationship between the age and the image of the peasant image and the image of the country is the objective existence we need to consider, and the relationship between the two is established in the subjective consciousness form, so that the two are between the two. The state of unity can better create a great image of the Great China and the fortitude of farmers. The humanitarianism in the period of reform and opening up has influenced Chinese artistic creation, and the peasant image has also changed greatly. Under this change, the consciousness of the peasants is increasing gradually. The image of the peasants is depicted to analyze the real environment of farmers in each period and the influence on the peasants, and to raise the logical starting point to the evolution of the consciousness of the masses of the peasants, and to analyze the change of the farmers' status through the change of the consciousness of the main body, which includes the self positioning of farmers and the objective social status of the peasants, two This article is divided into seven parts: the introduction part, comprehensive exposition of the purpose and significance of the topic, through the reading and induction of the literature, summary analysis of the status of this argument at home and abroad, and through the study of art methodology to elaborate the research methods of this article. Chapter 1, the macro summary of the concept and research of farmers subject painting The scope, and the analysis of the development and evolution of Chinese modern and Contemporary Farmers' painting, and the characteristics of the painting on the theme of the peasant image, and explain the two major research points of this paper, "he said" and "self questioning". The author expounds that "he said" is a kind of artist to describe the image of the farmer as a guest, but this description is not complete. According to the social reality, but in a political discourse under the authority of the political color of a description of a political color. "The concept of first" the creation of the main body of the image of the farmers reflected in the picture, read out a peasant image of the subjective consciousness of the marginalization reality. "Self questioning" is a new period of farmers' subjective consciousness. The peasants began to think seriously, the artist also reflected on the portrayal of the peasant image, and began to truly feel the value and significance of his own existence. In the second chapter, a systematic and comprehensive analysis of the representative paintings of farmers in the period of "the art of Mao Zedong era" from 1942 to 1976 was systematically analyzed and summed up the theme of farmers in various periods. The concrete image of the peasants in the painting, and the analysis of the real social status of the peasants from these images in combination with real life and political life. Although the peasants in this period occupy an important position in the history of the Chinese revolution, they still exist in the works as an object in their real life, although they seem to be the masters of the works, but they are still the masters of the works. In the third chapter, the third chapter, through a summary of the image of the peasants in the art of the age of the age of the age of the age of the age of the age of the age of the age of Mao Zedong, has turned into the new period, and the transition between the experience of the new period has become the main object of this chapter. In this chapter, the changes in the artistic artists' creation from objective to subjective and the form of farmers are analyzed in this chapter. In the fourth chapter, after the Chinese art entered the new period, after the real change of the peasant image, the artist shifted the center of focus to the restoration of the real essence of the peasants, and paid attention to the real life of the peasants. In the context of the global artistic context, the expression of the peasant theme and art works increased, no longer fully serving the politics, but the freedom of the artists' creation, and the authenticity and vividness of the farmers' image were further released. The image of farmers in the new period and the special groups of migrant workers were passed through the new period. The portrayal of the body, the analysis of the state of the farmers in confusion and the gradual recovery of the consciousness of the main body. The social status of the peasant image lost in the economic tide is back to the valley, and the social status of the peasants is not paid more attention. However, this period is indeed a period of rising consciousness of the peasants, and the farmers really begin to think for themselves and begin to think about themselves. In the course of the rapid economic development of the peasants, the peasants were dissimilated by the city in the process of rapid economic development in the twenty-first Century, and the "protagonist" was reduced to "the visitor". In this situation, the peasants should be where they should go. The change of the artist's painting technique and the change of the drawing angle are also like the spring of twenty-first Century. Farmers, bring a new age of farmers belonging to the peasant workers. Chapter fifth, this chapter focuses on the analysis of the concrete performance of the farmers' alienation by the city. The artist unfolds this alienation in the picture and strikes the audience's mind. After the city's alienation, farmers seek to assimilate and enrich themselves and enrich themselves in the pursuit of assimilation. In the pursuit of social identity, it is gradually turned into a sense of self identity, acknowledges himself, affirms himself, and gradually forms a strong subjective consciousness in adversity, and gradually waver the status quo of low identity. In this paper, the importance of the political discourse and the subjective consciousness of the artists is fully examined in the analysis of the image of the peasants, and the main meaning of the Chinese peasant image is derived from the two. The author looks at the modern art of the whole of China, and adds fresh elements to the analysis of farmers' image in farmers' paintings, and finally returns to the main purpose of this article to analyze the changes in the social status of the Chinese peasants.
【学位授予单位】：山东建筑大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

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