从民间到国展:历届全国美展年画艺术的形态变迁  

From Folk to National Art Exhibition:Changes in the Form of New Year Picture in National Art Exhibitions

作　　者：杨传杰 唐家路[2] Yang Chuanjie;Tang Jialu(the Fine Art School of Shandong University;Shandong University of Art and Design,Jinan,Shandong,250000)

机构地区：[1]山东大学艺术学院 [2]山东工艺美术学院,山东济南250000

出　　处：《民族艺术研究》2023年第4期115-123,共9页Ethnic Art Studies

基　　金：国家社科基金艺术学一般项目“民间传统技艺口决收集整理及其工艺思想研究”(项目批准号:19BG129)的阶段性研究成果。

摘　　要：年画作为第一届全国美展的重要组成部分并固定成为全国美展中的一个画种,其创作观念、形态样式及风格语言不断衍化,具有自身的特征,同时也是70多年全国美展发展与变迁的缩影。全国美展中的年画是在特定历史背景及时代语境下,深入借鉴民间年画的基础上形成的具有特定艺术形态的新年画。综观历届全国美展的年画创作,从“十七年”时期的革命现实主义,至20世纪末的主旋律与多样化,再到21世纪以来的拓展与衍生,其自身内在的发展脉络和演化逻辑,同样折射出中国民间美术发展的面貌。New Year picture is an important component and a fixed kind of painting in national art exhibition.Its creative concepts,forms and styles have constantly evolved,possessing own characteristics,which also reveal the development and changes of the national art exhibitions over the past 70 years.New Year picture in national art exhibitions is of specific artistic forms,which is formed through plenty of folk New Year pictures and is constructed in a specific historical background and era context.Taking a broad view of the New Year picture in each national art exhibitions,there are three development stages:from the revolutionary realism of the“Seventeen Years”period to the patriotic themes and diversity in the late 20~(th)century,and then to the expansion and derivation in the 21~(st)century.New Year picture's inherent development context and evolutionary logic also reflect the development of Chinese folk art.

关 键 词：全国美展 年画 民间 现实主义 多样化 

分 类 号：J218[艺术—美术]