抗美援朝战场上的速写与素描——围绕1952年赴朝创作团美术实践的考察  

Sketches on the Battlefield to Resist U.S.Aggression and Aid Korea:An Investigation on the Art Practice of the Creative Group to North Korea in 1952

作　　者：刘欣宜 Liu Xinyi

机构地区：[1]首都师范大学美术学院

出　　处：《美术》2020年第12期86-92,共7页Art Magazine

摘　　要：本文首先依据《人民日报》自1951年至1953年发表的“朝鲜战场速写”与“朝鲜战场素描”系列的美术作品,揭示不同阶段赴朝鲜战场的美术工作者发表的速写作品的特殊性与意义。继之,以1952年3月由中华全国文学艺术界联合会组织的赴朝创作团中美术工作者的创作为主要研究对象,揭示赴朝创作团在朝鲜战场上的创作方式与深入生活的具体过程,以及赴朝创作团在新中国美术史上的历史意义。文章力求从新中国抗美援朝的背景下出发,通过伍必端、邵宇、罗工柳等人的回忆与口述的视角,为抗美援朝战场上的速写运动建立翔实的历史图卷。Based on the series of"Sketches of the Korean Battlefield"and"Shorthand of the Korean Battlefield"published by People's Daily from 1951 to 1953,this paper first revealed the particularity and significance of the sketches published by art workers who went to the Korean battlefield at various stages.Subsequently,focusing on the creation of art workers in the creative group to North Korea organized by the China Federation of Literary and Art Circles(CFLAC)in March 1952,it displayed the creative methods and experience of the creative group on the Korean battlefield,as well as the historical significance of the creation group to North Korea in the history of new Chinese art.Based on the background of New China's resistance to U.S.aggression and aid Korea,and through Wu Biduan,Shao Yu,Luo Gongliu and other artists'recall and dictation perspectives,the paper strived to form an informative historical picture of the sketch movement on the battlefield to resist US aggression and aid Korea.

关 键 词：赴朝创作团 速写 深入生活 改造思想 

分 类 号：J209[艺术—美术]