规定与互动——20世纪50年代罗铭访闽粤侨乡写生的历史考察  

Regulation and Interaction: A Historical Study of Luo Ming’s Sketches at hometowns of Overseas Chinese in Fujian and Guangdong

作　　者：温中良 Wen Zhongliang

机构地区：[1]清华大学美术学院

出　　处：《美术》2021年第3期101-106,共6页Art Magazine

摘　　要：相较于1954年与李可染、张仃的江南写生,罗铭于1957年的闽粤侨乡写生并没有引发关注,与之相关的历史价值和学术意义也就此被湮没。事实上,这次写生不但是罗铭1954年写生之后山水画革新成果的再次检验,还是这一时期山水画艺术功用的另一种指向,即国家形象的对外展示和海外华侨、侨眷对国内建设的支持。因此,罗铭1957年的写生、《罗铭访闽粤侨乡写生画集》的出版发行及香港展览也就成为规定与互动合力之下的产物。它充当了宣传画的角色,是基于国家政治和经济需求,由中侨委具体策划实行的一项通过描绘侨乡的新面貌和新气象,向海外华侨展示新中国社会主义建设成就和归侨、侨眷幸福新生活的政治行为。Compared with Li Keran’s and Zhang Ding’s sketches in towns in the South of Yangtze River in 1954, Luo Ming’s painting in the hometowns of overseas Chinese in Fujian and Guangdong in 1957 failed to attract much attention, so its related historical value and academic significance also disappeared. In fact, this painting was another test of the innovation of landscape painting after Luo Ming’s sketches in 1954 and was also another direction of the artistic function of landscape painting in this period, i.e. the external display of national image and the support of overseas Chinese and their relatives for domestic construction. Therefore, the publication and distribution of Luo Ming’s painting in 1957 and Luo Ming’s sketches Collection of Overseas Chinese Hometowns in Fujian and Guangdong, and the Hong Kong exhibition have become the products of regulations and interaction. As a poster, it was a political action specifically planned and implemented by the Overseas Chinese Commission based on the political and economic needs of the country. It shows overseas Chinese the achievements of new China’s socialist construction and the happy new life of returned overseas Chinese and their family members by depicting the new look and new atmosphere of the hometowns of overseas Chinese.

关 键 词：罗铭 山水写生 海外华侨 艺术功用 

分 类 号：J209[艺术—美术]