“新中国美术”与“现代性”叙事的关联及研究——以农村题材的绘画创作为中心  

Study of the Correlation Between New China’s Art and Modern Narrative: Centering on the Rural Themed Paintings

作　　者：李公明[1] Li Gongming

机构地区：[1]广州美术学院

出　　处：《美术》2020年第5期23-27,35,共6页Art Magazine

摘　　要：本文把"新中国美术"放置于有关"新中国"的革命叙事与现代性叙事之间的历史语境之中,从农村及农民题材绘画这一特定角度及两组有代表性的作品案例,以艺术学与历史社会学结合的阐释方法探讨"新中国美术"的生成、存在机制、发展逻辑及其与"现代性"的关系。本文指出,"新中国美术"中的农村题材和农民形象在整个历史时期的视觉图像景观中占有重要地位,其作品研究必须与同一历史语境下的中国政治与社会历史真实紧密联系在一起;"新中国美术"与"现代性"叙事的关联是由中国特定的"另类现代性"所决定的,被镶嵌在一个复杂、激烈的历史发展语境之中。In this paper, the "new China’s art" is discussed in the historical context between the revolutionary narrative of "new China" and the modern narrative. Specifically, two groups of representative works are analyzed from the perspective of rural and farmer theme paintings. Also, this paper explores the formation, existence mechanism, development logic of "new China’s art" and its relationship with "modernity" by combining art theories with historical sociology. This paper points out that the rural themes and images of peasants in "new China’s art" play an important role in the visual landscape of the whole historical period. Hence, the study on such a work must be closely related to the political and social-historical reality of China in the same historical context. Furthermore, the correlation between the "new China’s art" and modern narrative is determined by China’s specific "alternative modernity", which is embedded in a complex and fierce historical development context.

关 键 词：“新中国美术” “现代性”叙事 农村题材绘画 历史语境 

分 类 号：J209[艺术—美术]