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作 者:尹成君 李楠 Yin Chengjun;Li Nan(School of Arts,Beijing Language and Culture University,Beijing,100083)
出 处:《民族艺术研究》2024年第3期97-111,共15页Ethnic Art Studies
基 金:2021年度国家社科基金艺术学一般项目“中国现当代美术批评史”(项目批准号:21BF081)的阶段性研究成果。
摘 要:以习近平总书记在文艺工作座谈会上提出的“坚持以人民为中心的创作导向”为指引,聚焦“以人民为中心”形象在中国现代美术创作中的历史实践,以此透视“以人民为中心”与中国现代美术转型的关系。在“延安美术时期”,主要表现出大众化与通俗化、艺术性与革命性等更具有“普罗大众的艺术立场”;在新中国建设时期,美术工作者们发出了“为新中国而努力”的口号,倡导创作反映新中国面貌和适合广大民众欣赏要求,并有多种表现形式的美术作品;在新时期,美术创作不仅着眼于对“社会主义生活”这一“审美客体”的多样性表达,还将艺术家自身对于时代的观察与感知、人文关怀、生命体验及审美趣味融入到对于历史和当下的叙事中,在审美主体与艺术本体的融汇中,构成新的艺术景观;新时代以来,美术创作为“讲好中国故事,传播好中国声音”提供了一种直接而明晰的路径,从而展示了“真实、立体、全面”的中国。Guided by General Secretary Xi Jinping′s at the Forum on Literature and Art encourage people-centered cultural creation”,this paper focuses on the historical practice of people-centered image in modern Chinese art creation,shedding light on the relationship between people-centered principles and the transformation of modern Chinese art.During Yan'an Art Period,art was characterized by popularization and accessibility,artistry and revolutionary spirit,embodying an artistic stance for the masses.In the period of New China′s construction,artists rallied with the slogan “strive for New China”,advocating for art which reflected the new face of China,suited the tastes of the masses,and utilized diverse forms of expression.In the new era,artistic creation not only focused on diverse expressions of “socialist life” as an aesthetic object,but also integrated artists′ observations and perceptions of the times,humanistic care,life experiences,and aesthetic tastes into narratives of both history and the present.This fusion of aesthetic subjects and artistic entities created a new artistic landscape.In the new era,providing a direct and clear path to “tell China′s story well and spread China′s voice well”,thereby showcasing a “realistic,three-dimensional,and comprehensive” China.
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