风景剧场——古元木刻《逃亡地主又归来》与《减租会》的图像叙事  

Landscape Theater:The Image Narrative of Gu Yuan's Woodcuts the Escaped Landlord Returns and Rent Reduction Meeting

作　　者：谢依阳 Xie Yiyang(Guangzhou Academy of Fine Arts)

机构地区：[1]广州美术学院

出　　处：《美术》2025年第2期80-89,共10页Art Magazine

基　　金：2020年国家社科基金艺术学重点项目《中国现代革命题材美术作品研究》(项目批准号:20AF007)的阶段性研究成果。

摘　　要：1941年至1943年,是延安地区土改运动的关键期,古元木刻《逃亡地主又归来》与《减租会》是这一时期重要的图像文本。延安时期的古元,无论何种题材,到他手里都会转换为富有意味的画面,这与他对生活的观察及形象的体现方式密切相关。在人事与风景之间,古元建构了独有的艺术世界;在政治与艺术之间,古元把握着一种微妙的平衡;在观者与对象之间,古元呈现了一个共存的空间。当他用图像阐释这一现实题材,即可抓住一个个生动的场面,编排情节,塑造角色,分析人物心理,形成特有的剧场效应。The Escaped Landlord Returns and Rent Reduction Meeting created by Gu Yuan were two important woodcuts between 1941 and 1943,a critical period of the Land Reform in Yan'an.During this period,Gu Yuan turned every theme into a meaningful painting,which could be attributed to his observation of life and his way of depiction.He created his own artistic world between daily affairs and landscape,stroke a delicate balance between politics and art,and presented a space of coexistence between objects and viewers.When interpreting realistic themes with paintings,he could always grasp vivid scenes,construct plots,create characters,conduct psychological analysis for them and finally form a unique theater effect.

关 键 词：延安木刻 古元 土地改革 心理图析 剧场效应 

分 类 号：G63[文化科学—教育学]