进入图像学研究视野的毛泽东图像

发布时间：2018-04-02 15:08

本文选题：毛泽东图像　切入点：图像学　出处：《四川大学》2007年硕士论文

【摘要】： 从第一幅真正意义上的毛泽东画像的出现起，毛泽东的形象就开始不断的出现在各类美术作品中，并且，随着毛泽东在政治上领导地位的进一步确立，其形象更是被美术界广泛描绘。到了文革时期，在一场史无前例的偶像崇拜运动的推进下，毛泽东形象逐渐被图像化，进而“圣像”化、神化，，成为了一种政治歌颂模式。而进入当代，当中国的政治幻化出较为宏阔的氛围时，一些艺术家敏锐的抓住了时机，在自己的本土上公开直面毛泽东图像，开始了对毛泽东图像新一轮的挪用与再造。无论是毛泽东图像的早期的“图像化”时期，文革时期的“圣像化”时期，还是当代的“挪用与再造”阶段，都给我们留下了数量巨大的美术作品。也正是这些作品，给了我们解读毛泽东图像的依据。论文将研究对象锁定为“毛泽东图像”，主要目的在于对数量众多的以毛泽东形象为题材创作的美术作品进行分析，将其放在一个大的政治文化背景中去探寻它产生的原因和存在的意义，并发掘潜藏在作品背后的政治内涵和文化信息。论文引入图像学的研究方法，意图从一个全新的视角来研究美术作品中的毛泽东图像，无论是对于毛泽东图像价值的重新审视和定位，还是对图像学方法在中国的个案研究实践，都是十分有必要的，也是十分有意义的。论文根据图像学研究层层深入的几个阶段，以提问的方式使研究逐步深入。首先，在“我们看到了什么——美术作品中的毛泽东图像及其性质的演变”一章中，阐述了毛泽东图像由产生到逐渐被图像化，进而“圣像”化、神化，成为了一种政治歌颂模式的过程，并描述了各个时期的图像特征、代表作品，及其发生的社会文化背景；其次，在“为什么要创作这些作品——毛泽东图像成因深层探析”一章中，将“毛泽东图像”置于一个“大文化”的概念之中，从图像化的政治话语和偶像崇拜心理两个方面，剖析其从领袖肖像到美术图像，并一步步走向圣坛成为“圣像”的深层原因，以期探究其蕴含的政治内涵和文化信息，解读其与政治、经济、文化之间的相互关系；第三，在“为什么这一题材在当代如此流行——毛泽东图像在当代的挪用与再造”一章中，作者对毛泽东图像在当代的“复燃”现象进行追问，以“政治波谱”中毛泽东图像的挪用与再造为切入点，来把握波谱艺术在中国的独特发展轨迹，并由此生发出对当下艺术和文化现象的关注。
[Abstract]:From the emergence of the first portrait of Mao Zedong in the true sense, Mao Zedong's image began to appear in all kinds of art works, and with the further establishment of Mao Zedong's political leadership,Its image is more widely portrayed by the art circles.In the Cultural Revolution period, under the advance of an unprecedented idolatry movement, Mao Zedong's image was gradually visualized, then "holy image" and deification, became a kind of political praise mode.No matter in the early period of "imagification" of Mao Zedong's image, in the period of "consecration" during the Cultural Revolution, or in the stage of "misappropriation and reconstruction", we have been left with a large number of fine arts works.It is these works that give us the basis for interpreting Mao Zedong's images.The main purpose of this paper is to analyze a large number of works of fine art created on the subject of Mao Zedong image.Put it in a large political and cultural background to explore its causes and the significance of its existence, and explore the political connotation and cultural information hidden behind the works.This paper introduces the research method of imageology, intends to study Mao Zedong's image in art works from a new angle, whether it is to re-examine and position the value of Mao Zedong's image.It is also very necessary and meaningful to the case study practice of imageology in China.According to the several stages of image research, the research is carried out step by step by asking questions.First of all, in the chapter "what do we see? the evolvement of Mao Zedong's image and its nature" in the works of fine arts, the author expounds the picture of Mao Zedong from production to gradually being visualized, and then the "holy image" is transformed and deified.Has become a kind of political praise pattern process, and has described each period image characteristic, represents the work, and its social and cultural background. Secondly,In the chapter "Why to create these works-an Analysis of the cause of formation of Mao Zedong's Image", we put the picture of Mao Zedong into the concept of "big culture", from the two aspects of image-oriented political discourse and idolatry psychology.Analyze its deep reason from leader portrait to art image, and step by step toward the altar to become "holy image", in order to explore its political connotation and cultural information, interpret the relationship between it and politics, economy and culture; third,In the chapter "Why is this theme so popular in the contemporary era-the misappropriation and reconstruction of Mao Zedong's images in the present age", the author makes a question about the phenomenon of "rekindling" of Mao Zedong images in the contemporary era.Taking the misappropriation and reconstruction of Mao Zedong's image in political spectrum as the starting point, this paper tries to grasp the unique development track of spectrum art in China and pay attention to the current art and cultural phenomenon.
【学位授予单位】：四川大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J120.9

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