新年画展览会里的新中国叙事(1949—1952)  

Narratives of New China in New Year Painting Exhibitions(1949-1952)

作　　者：蒋岳红 Jiang Yuehong(Information and Intelligence Department,CAFA Library)

机构地区：[1]中央美术学院图书馆信息情报部

出　　处：《美术》2024年第10期64-77,87,共15页Art Magazine

摘　　要：从1949年11月国家政府“开展新年画工作的指示”到1951年10月“加强年画工作的指示”,再有1950年和1952年中央人民政府文化部举行的两次年画评奖,新年画展览会在不同时空场域提供的叙事内容和叙事策略,既投射了新中国叙事在视觉形象建构实践中更为具体生动的图像传达和空间呈现,也是视觉典范的发现和命名的现场。本文选择返场1949年至1951年在北京举办的5个年画展览会,细察展览会出场的缘由和展览引发的讨论及作品评介。无论是作为新中国美术的起点,还是新中国的美术成就,抑或是新中国人民美术事业的蓬勃开场,新年画展览会同时是延安模式、群众运动和统一战线视觉化叙事生效的场域,积极主动地提供了新中国叙事需要的视觉符码。The narrative contents and strategies provided by New Year painting exhibitions in different time and space,given the“instructions on carrying out New Year painting work”in November 1949 and the“instructions on strengthening New Year painting work”in October 1951 of the Chinese government,as well as the two New Year painting award ceremonies held by the Ministry of Culture of the Central People's Government in 1950 and 1952,not only demonstrated more specific and vivid image communications and spatial presentation of New China narratives in building visual images,but also provided a platform for discovering and naming visual paradigms.Selecting five New Year painting exhibitions held in Beijing from 1949 to 1951,this article examines reasons for holding these exhibitions,discussions triggered by them and comments on these paintings.Be it the starting point of fine arts of New China,artistic achievements of New China,or a vigorous beginning of fine arts in New China,New Year painting exhibitions were a platform where the visual narrative of the Yan'an model,mass movements and the united front took effect,and actively provided visual signs needed for the narratives of New China.

关 键 词：新年画 新中国 展览会 展览叙事 

分 类 号：J218.3-28[艺术—美术] K27[历史地理—历史学]