毛泽东时代美术中大庆石油工人形象的产生  

On the Emergence of the Image of Daqing Oilfield Workers in the Art during the Era of Mao Ze-dong

作　　者：武杰山[1] 

机构地区：[1]大庆师范学院,黑龙江大庆163712

出　　处：《大庆师范学院学报》2011年第4期139-141,共3页Journal of Daqing Normal University

摘　　要：毛泽东时代美术中,工农兵形象是其国家形象构建的重要组成部分。在毛泽东的"文艺为工农兵服务"文艺思想的指导下,工人的美术形象随着国家建设题材的兴起而逐渐发展起来,形成了以钢铁工人形象、煤矿工人形象为特色的工人美术形象系统。随着1960年大庆油田的开发建设、石油工人政治地位的提升,石油工人形象被表现并成为这一美术形象系统的一员。以大庆油田独特的石油工业景观和"铁人"王进喜鲜明的视觉形象为代表,在新中国美术史上掀起了一轮石油工人形象题材的创作热潮。In the art during the era of Mao Ze-dong, the image of workers, peasants and soldiers was an important component of its state image construction. Mao advocated that art should serve workers, peasants and soldiers, so the artistic image of workers gradually developed with the emergence of the theme of state construc- tion and a worker art image system featuring the image of iron worker and coal mine worker was gradually formed. With the development and construction of Daqing oil field in 1960, oil workers political status was im- proved, which made the image of oil workers one of this system. Daqing oil field＇s unique industrial landscape and the ＂Iron Man＂ Wang Jin-xi were the representatives of the distinct visual image and launched a new round of creation wave in the oil workers image in the history of New China art.

关 键 词：毛泽东时代美术 大庆石油工人 工人形象 工业建设题材 

分 类 号：J222[艺术—美术]