农民画:后全球化语境下民族—人类文化的一种建设路径——以余东农民画为例  

Peasant Painting:A Constructing Path of People,s Human Culture in Context of Post⁃globalization:Take Yu Dong,s Peasant Painting as an Example

作　　者：杨东篱[1] Dongli YANG(Shandong University)

机构地区：[1]山东大学历史学院

出　　处：《马克思主义美学研究》2024年第2期29-54,396-397,共28页Research on Marxist Aesthetics

基　　金：中国文学艺术基金会、中国文学艺术发展专项基金资助

摘　　要：后全球化语境需要使用民族—人类文化的策略建设能够被世界认同的民族文化,参与全球人类命运共同体的文化建设。农民画可作为我们民族—人类文化建设的重要样本。它承载的意义类型按时间顺序可被分为政治意识形态的意义、民俗生活的意义以及创意时尚的意义等三种类型。其中,每种意义类型都对应农民画发展的一个历史阶段。农民画在这些阶段中将民众具有民族性与日常性的感觉结构以审美乌托邦的形式表现出来,批判和否定现实对人类本性的异化,打破既定等级秩序和常规教条,进而集体走向自由和解放。民众在这一过程中可以建立起独立的文化身份。不过,知识分子在其中的参与和引导功不可没。余东农民画可作为农民画建设民族—人类文化的重要例证。Post⁃globalization context requires the use of the strategy of people's human culture to build a national culture that can be recognized by the world and participate in the cultural construction of the global community of human destiny.Peasant painting can be taken as an important sample of our people's human cultural construction.The meaning types it carries can be divided into three types in chronological order:the meaning of political ideology,the meaning of folk life and the meaning of creative fashion.Among them,each type of meaning corresponds to a historical stage of the development of peasant painting.In these stages,peas⁃ant painting show the people's sense structure with nationality and daily nature in the form ofaesthetic utopia,criticizing and denying the alienation of reality to human nature,breaking the established hierarchical order and conventional dogma,and then moving towards freedom and liberation collectively.In this process,people can establish independent cultural identity.However,the participation and guidance of intellectuals cannot be neglected.Yu Dong's peas⁃ant painting can be used as an important example of peasant painting in building people's hu⁃man culture.

关 键 词：农民画 后全球化 民族—人类文化 审美乌托邦 余东村 

分 类 号：C912.4[经济管理] J219[社会学]