本文選題：周令釗　切入點(diǎn)：時(shí)代與藝術(shù)家　出處：《中央美術(shù)學(xué)院》2016年博士論文

【摘要】：在各大媒體的報(bào)道中,周令釗是中國著名藝術(shù)家、著名設(shè)計(jì)師,是新中國一系列國家形象設(shè)計(jì)項(xiàng)目的參與者和見證者。在美術(shù)史研究中,周令釗是進(jìn)入正史的藝術(shù)家。在設(shè)計(jì)藝術(shù)研究中,周令釗的裝飾風(fēng)格成為了時(shí)代經(jīng)典。周令釗在藝術(shù)與設(shè)計(jì)之間游刃有余地“兩棲作戰(zhàn)”,在各種藝術(shù)史料中卻沒有得到充分完整的呈現(xiàn),公眾輿論及人們對他的認(rèn)知,往往只還原了某個(gè)片面。在各種媒體報(bào)道中,周令釗是位勤奮多產(chǎn)的藝術(shù)家；在日常生活中,周令釗是個(gè)單純樂觀的老人,只知道把畫畫好,國家交給什么任務(wù),就認(rèn)認(rèn)真真把它完成。他不愛空談?wù)?但在關(guān)鍵時(shí)刻堅(jiān)定不移地選擇緊緊跟隨共產(chǎn)黨。他堅(jiān)定而篤信進(jìn)步的理想,抗戰(zhàn)時(shí)期為民族發(fā)聲,新中國成立后為國家出力。周令釗每個(gè)時(shí)代的轉(zhuǎn)向,既有共產(chǎn)黨的引導(dǎo)和召喚,又是他自身修養(yǎng)和藝術(shù)情懷共同作用的結(jié)果。本論文試圖串聯(lián)各種“碎片”化局部的周令釗形象,形成一個(gè)相對完整的概念。同時(shí),在這個(gè)概念的基礎(chǔ)上,盡力梳理周令釗與時(shí)代、共產(chǎn)黨與藝術(shù)知識分子之間的關(guān)系。最后,探討周令釗個(gè)人經(jīng)驗(yàn)融于時(shí)代、政治的路徑與可能性,以及藝術(shù)家的理想與時(shí)代需要之間的契合。本論文的主要內(nèi)容為第二、三、四章。第二章闡述周令釗在抗戰(zhàn)時(shí)期的節(jié)點(diǎn)與創(chuàng)作。在民族危亡的關(guān)頭,他毅然放棄個(gè)人的安逸生活,投身于抗戰(zhàn)宣傳工作,這種自覺性帶領(lǐng)他順理成章地完成了商業(yè)廣告設(shè)計(jì)師到抗戰(zhàn)宣傳藝術(shù)家的身份轉(zhuǎn)變。在商業(yè)利益和民族需要形成尖銳對抗中,周令釗選擇了藝術(shù)追求與民族需要的統(tǒng)一。此時(shí)期周令釗留存的作品并不多,此章重點(diǎn)梳理其進(jìn)步思想的來龍去脈、輾轉(zhuǎn)節(jié)點(diǎn)和其中共產(chǎn)黨人的作用。第三章以周令釗新中國成立后的國家視覺設(shè)計(jì)為文本,闡述他筆下的民族傳統(tǒng)樣式如何轉(zhuǎn)變?yōu)橐环N現(xiàn)代民族國家的自我表征,即代表了傳統(tǒng),又表明了新意。周令釗作品中的民族傳統(tǒng)樣式,是國家需要和藝術(shù)家們創(chuàng)作熱情的匹配。其中形式的選擇,多是藝術(shù)家結(jié)合自己的知識儲備和對新中國的理解的主動(dòng)選擇。第四章以新中國成立后周令釗的其他創(chuàng)作為文本,闡述周令釗對新生活由衷的贊美和想象如何通過藝術(shù)美的表現(xiàn)方式投射到創(chuàng)作之中。新中國成立為藝術(shù)家提供了穩(wěn)定的生活和創(chuàng)作環(huán)境,此時(shí)周令釗進(jìn)入了一個(gè)創(chuàng)作的高產(chǎn)期,藝術(shù)日臻成熟。通過周令釗的個(gè)案分析,表明藝術(shù)家的個(gè)人興趣和國家需要之間,存在一種微妙的關(guān)系。
[Abstract]:In various media reports, Zhou Linzhao is a famous Chinese artist, designer, participant and witness of a series of national image design projects in New China.In the study of art history, Zhou Linzhao was an artist who entered the official history.In the study of design art, Zhou Linzhao's decorative style has become a classic of the times.Zhou Linzhao's "amphibious battle" between art and design has not been fully presented in all kinds of art historical materials. Public opinion and people's cognition of him often only restore some one-sided situation.In all kinds of media reports, Zhou Linzhao is a diligent and productive artist. In daily life, Zhou Linzhao is a simple optimistic old man.He does not like to talk about politics, but at critical times he firmly chooses to stick with the Communist Party.He firmly and firmly believed in the ideal of progress, during the War of Resistance to speak for the nation, after the founding of New China for the country.Zhou Linzhao's turn of every era is not only the guidance and call of the Communist Party, but also the result of his own cultivation and artistic feelings.This paper attempts to concatenate various "fragments" of the local image of Zhou Linzhao, forming a relatively complete concept.At the same time, on the basis of this concept, we try to sort out the relationship between Zhou Linzhao and the times, the Communist Party and the art intellectuals.Finally, the author discusses the combination of Zhou Linzhao's personal experience with the times, the path and possibility of politics, and the artist's ideal and the needs of the times.The main contents of this thesis are the second, third and fourth chapters.The second chapter elaborates Zhou Linzhao's joint and creation during the War of Resistance against Japan.At the critical moment of national crisis, he resolutely gave up his personal life and devoted himself to the propaganda work of the War of Resistance against Japan. This consciousness led him to complete the transformation of his identity as a commercial advertising designer to a propagandist artist of the War of Resistance against Japan.In the sharp confrontation between commercial interests and national needs, Zhou Linzhao chose the unity of artistic pursuit and national needs.Zhou Linzhao did not have many works in this period.The third chapter takes Zhou Linzhao's national visual design after the founding of New China as the text to explain how his national traditional style is transformed into a modern nation-state 's self-representation, which represents the tradition and shows the new meaning.The traditional national style in Zhou Linzhao's works is a match between the national needs and the creative enthusiasm of the artists.The choice of form is mostly the active choice of the artists combining their knowledge reserves and understanding of the new China.The fourth chapter takes Zhou Lingzhao's other works after the founding of New China as the text to explain how Zhou Linzhao's sincere praise and imagination of the new life can be projected into the creation by artistic beauty.The founding of New China provided a stable living and creating environment for artists. At this time Zhou Linzhao entered a period of high production and art was maturing day by day.Zhou Linzhao's case study shows that there is a subtle relationship between the artist's personal interest and national needs.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：J509.2
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本文編號：1724753