本文選題：農(nóng)民題材繪畫 + 他說��； 參考：《山東建筑大學(xué)》2017年碩士論文

【摘要】：自新中國建國后,繪畫藝術(shù)中的農(nóng)民形象有著較為系統(tǒng)的形式,中外學(xué)者和藝術(shù)家曾通過社會學(xué)的解讀、圖像學(xué)的演進、意識形態(tài)的分析等視點對中國農(nóng)民形象進行過系統(tǒng)的研究。這幾種獨特的方法與視角,都很好的對農(nóng)民形象進行不同層面的解讀,使觀者對于中國農(nóng)民的形象有了深入全面的理解。正因為有了之前的研究,才為本篇論文的撰寫提供了豐富的理論基礎(chǔ),為本文從農(nóng)民題材繪畫中分析中國農(nóng)民社會地位的變遷的主旨提供論述的可能性。本文從圖像學(xué)理論出發(fā),以“毛澤東時代美術(shù)”到21世紀(jì)美術(shù)的時間線索,縱觀中國現(xiàn)當(dāng)代各類繪畫中突出的農(nóng)民題材繪畫,分析各個時代農(nóng)民形象的社會底蘊以此總結(jié)出每一時代農(nóng)民社會地位的真實存在,最終歸納出中國農(nóng)民社會地位的變遷軌跡�；趯Σ煌瑫r期、不同歷史語境下的農(nóng)民形象存在著不同的表達方式,農(nóng)民形象究竟是一種自主自為的主人翁狀態(tài)還是被人言說任人擺布的客體狀態(tài)。從“他說”與“自問”的角度看農(nóng)民形象是如何演變的,這需要我們在這特定時空下對農(nóng)民形象的表象與社會根源之間的聯(lián)系做出深層剖析才能理解農(nóng)民形象的時代風(fēng)貌。同時,針對于農(nóng)民形象的時代風(fēng)貌與國家形象之間的關(guān)系,也是我們需要考慮的客觀存在,在主觀意識形態(tài)中建立兩者之間的聯(lián)系,使兩者之間相統(tǒng)一的狀態(tài)能更好的共同鑄造當(dāng)今偉大的中國和堅毅的農(nóng)民形象。改革開放時期人道主義影響了中國藝術(shù)創(chuàng)作,農(nóng)民形象也有著很大的變化,在這種變化之下農(nóng)民主體意識漸漸增強。本文從分析農(nóng)民題材繪畫作品出發(fā),通過對繪畫作品所描繪的農(nóng)民形象,分析各時期農(nóng)民所處的真實環(huán)境及對農(nóng)民的影響,并將邏輯起點上升到農(nóng)民群眾主體意識的演進上,通過這種主體意識的變化來分析農(nóng)民地位的變化,這種農(nóng)民的地位包括農(nóng)民心理上的自我定位與客觀社會地位兩方面。本文分為七大部分:緒論部分,綜合闡述了選題的目的及意義,通過對文獻的閱讀與歸納,總結(jié)分析該論點的國內(nèi)外研究現(xiàn)狀,并通過對藝術(shù)學(xué)方法論的學(xué)習(xí)闡述了本文的研究方法。第一章,宏觀的概括了農(nóng)民題材繪畫的概念及研究范圍,并分析了中國現(xiàn)當(dāng)代農(nóng)民繪畫的發(fā)展演變以及關(guān)于農(nóng)民形象題材繪畫的特性,并重點解釋了本篇論文的兩大研究視點“他說”與“自問”。闡述了“他說”是一種藝術(shù)家將農(nóng)民形象作為客體的進行描繪,但這種描繪并不是完全的遵照社會現(xiàn)實,而是在一種政治話語的威嚴(yán)下進行的一種帶有政治色彩的描繪�！坝^念先行”下創(chuàng)作主體對農(nóng)民形象的認(rèn)識反映在畫面上,從中讀出一種農(nóng)民形象主體意識的邊緣化現(xiàn)實�！白詥枴笔窃谛聲r期的一種農(nóng)民主體意識的表現(xiàn),農(nóng)民開始認(rèn)真思考、藝術(shù)家也對農(nóng)民形象的描繪進行反思,開始真正的自己去感受自己存在的價值與意義。第二章,系統(tǒng)全面的分析了1942年至1976年“毛澤東時代美術(shù)”時期的代表性農(nóng)民題材繪畫作品,歸納總結(jié)了各時期農(nóng)民題材繪畫中農(nóng)民的具體形象,并從這些形象中結(jié)合現(xiàn)實生活以及政治生活來分析農(nóng)民真實的社會地位。這一時期的農(nóng)民雖然在中國革命史上占有重要的地位,但就真實生活而言他們?nèi)允亲鳛橐环N客體存在于作品中,雖然看似是主人翁,但卻缺少主人翁最必不可少的主體意識。第三章,通過對“毛澤東時代美術(shù)”中農(nóng)民形象的總結(jié),時代轉(zhuǎn)入新時期,在經(jīng)歷到新時期之間的過渡成為本章節(jié)主要研究對象。在此章節(jié)中主要通過分析藝術(shù)家從客觀到主觀創(chuàng)作的變化以及農(nóng)民形象從主人翁到看客的角色轉(zhuǎn)變,最終分析出農(nóng)民主體意識從無到有的一種質(zhì)的改變提供理論支撐。第四章,中國美術(shù)進入新時期后農(nóng)民形象發(fā)生實質(zhì)變化后藝術(shù)家便將創(chuàng)作重心轉(zhuǎn)移到恢復(fù)農(nóng)民最真實的本質(zhì)上來,關(guān)注農(nóng)民真實生活,反映農(nóng)民疾苦,使創(chuàng)作走上了一條人道主義道路。在全球藝術(shù)語境下農(nóng)民題材美術(shù)作品的表現(xiàn)形式增加,不再完全服務(wù)于政治,而是接檔了藝術(shù)家的創(chuàng)作自由,進一步釋放農(nóng)民形象的真實與生動。通過對新時期農(nóng)民形象以及農(nóng)民工特殊群體的描繪,分析農(nóng)民陷入迷茫的一種狀態(tài)以及主體意識的漸漸恢復(fù)。經(jīng)濟大潮中迷失掉的農(nóng)民形象的社會地位重回低谷,農(nóng)民社會地位更加不受重視。但這一時期確是農(nóng)民主體意識高漲的時期,農(nóng)民真正的開始為自己思考,開始思考自己的人生以及自己存在的意義。進入21世紀(jì)后,農(nóng)民在經(jīng)濟飛速發(fā)展的進程中被城市異化,由“主人公”淪為“看客”,在這種現(xiàn)狀下,農(nóng)民該何去何從。藝術(shù)家繪畫創(chuàng)作手法的多變以及繪畫出發(fā)角度的改變也像清泉一般滋潤著21世紀(jì)的農(nóng)民,帶來一種屬于農(nóng)民,屬于農(nóng)民工的新生時代。第五章,此章節(jié)重點分析了農(nóng)民被城市異化的具體表現(xiàn),藝術(shù)家將這種異化展現(xiàn)在畫面上,直擊觀眾的心靈。農(nóng)民被城市異化后努力尋求同化,在追求同化的過程中升華自己、充實自己。從尋求社會認(rèn)同下漸漸轉(zhuǎn)為求得自身的認(rèn)同感,承認(rèn)自己,肯定自己,在逆境中漸漸形成強大的主體意識,也漸漸動搖著身份低下的現(xiàn)狀。結(jié)論部分,統(tǒng)籌全文上下,將農(nóng)民形象以及農(nóng)民社會地位的變現(xiàn)作總結(jié)性歸納,并引出中國農(nóng)民該何去何從,怎樣在飛速發(fā)展的中國立足,中國農(nóng)民應(yīng)該以怎樣的精神面貌去適應(yīng)社會真正的使成為世界的一份子。本篇論文在對農(nóng)民形象的分析研究中充分考量了政治話語及藝術(shù)家主體意識的重要性,通過兩者引出中國農(nóng)民形象的主體意識。筆者放眼整個中國的近代美術(shù),又加入新鮮元素,將農(nóng)民題材繪畫中的農(nóng)民形象分析的有滋有味,并最終回歸本文主旨分析出中國農(nóng)民社會地位的變遷。
[Abstract]:Since the founding of new China, the image of farmers in the art of painting has a more systematic form. Chinese and foreign scholars and artists have done a systematic study of the Chinese farmers' image through the interpretation of sociology, the evolution of iconography, the analysis of ideology and so on. These unique methods and perspectives are all very good to the farmers' image. The interpretation of the same level makes the viewer have a thorough and comprehensive understanding of the image of Chinese farmers. It is just because of the previous study that it provides a rich theoretical basis for the writing of this paper, and provides a possibility for the analysis of the theme of the changes in the social status of the Chinese peasants from the farmer's subject painting. On the basis of "Mao Zedong's art of art" to the time clue of art in twenty-first Century, a survey of the prominent peasant theme paintings in all kinds of paintings in modern and contemporary China, and the analysis of the social details of the image of farmers in various times, summed up the real existence of the social status of the peasants in each era, and finally summed up the change track of the social status of the Chinese peasants. On the basis of different historical contexts, there are different expressions in the image of farmers in different historical contexts. The farmers' image is a state of self ownership or the object state of the people. From the perspective of "he said" and "self questioning", how the peasant image evolves, which requires us in this particular time and space. The relationship between the image of the peasant image and the social root can be deeply analyzed to understand the age and features of the peasant image. At the same time, the relationship between the age and the image of the peasant image and the image of the country is the objective existence we need to consider, and the relationship between the two is established in the subjective consciousness form, so that the two are between the two. The state of unity can better create a great image of the Great China and the fortitude of farmers. The humanitarianism in the period of reform and opening up has influenced Chinese artistic creation, and the peasant image has also changed greatly. Under this change, the consciousness of the peasants is increasing gradually. The image of the peasants is depicted to analyze the real environment of farmers in each period and the influence on the peasants, and to raise the logical starting point to the evolution of the consciousness of the masses of the peasants, and to analyze the change of the farmers' status through the change of the consciousness of the main body, which includes the self positioning of farmers and the objective social status of the peasants, two This article is divided into seven parts: the introduction part, comprehensive exposition of the purpose and significance of the topic, through the reading and induction of the literature, summary analysis of the status of this argument at home and abroad, and through the study of art methodology to elaborate the research methods of this article. Chapter 1, the macro summary of the concept and research of farmers subject painting The scope, and the analysis of the development and evolution of Chinese modern and Contemporary Farmers' painting, and the characteristics of the painting on the theme of the peasant image, and explain the two major research points of this paper, "he said" and "self questioning". The author expounds that "he said" is a kind of artist to describe the image of the farmer as a guest, but this description is not complete. According to the social reality, but in a political discourse under the authority of the political color of a description of a political color. "The concept of first" the creation of the main body of the image of the farmers reflected in the picture, read out a peasant image of the subjective consciousness of the marginalization reality. "Self questioning" is a new period of farmers' subjective consciousness. The peasants began to think seriously, the artist also reflected on the portrayal of the peasant image, and began to truly feel the value and significance of his own existence. In the second chapter, a systematic and comprehensive analysis of the representative paintings of farmers in the period of "the art of Mao Zedong era" from 1942 to 1976 was systematically analyzed and summed up the theme of farmers in various periods. The concrete image of the peasants in the painting, and the analysis of the real social status of the peasants from these images in combination with real life and political life. Although the peasants in this period occupy an important position in the history of the Chinese revolution, they still exist in the works as an object in their real life, although they seem to be the masters of the works, but they are still the masters of the works. In the third chapter, the third chapter, through a summary of the image of the peasants in the art of the age of the age of the age of the age of the age of the age of the age of the age of Mao Zedong, has turned into the new period, and the transition between the experience of the new period has become the main object of this chapter. In this chapter, the changes in the artistic artists' creation from objective to subjective and the form of farmers are analyzed in this chapter. In the fourth chapter, after the Chinese art entered the new period, after the real change of the peasant image, the artist shifted the center of focus to the restoration of the real essence of the peasants, and paid attention to the real life of the peasants. In the context of the global artistic context, the expression of the peasant theme and art works increased, no longer fully serving the politics, but the freedom of the artists' creation, and the authenticity and vividness of the farmers' image were further released. The image of farmers in the new period and the special groups of migrant workers were passed through the new period. The portrayal of the body, the analysis of the state of the farmers in confusion and the gradual recovery of the consciousness of the main body. The social status of the peasant image lost in the economic tide is back to the valley, and the social status of the peasants is not paid more attention. However, this period is indeed a period of rising consciousness of the peasants, and the farmers really begin to think for themselves and begin to think about themselves. In the course of the rapid economic development of the peasants, the peasants were dissimilated by the city in the process of rapid economic development in the twenty-first Century, and the "protagonist" was reduced to "the visitor". In this situation, the peasants should be where they should go. The change of the artist's painting technique and the change of the drawing angle are also like the spring of twenty-first Century. Farmers, bring a new age of farmers belonging to the peasant workers. Chapter fifth, this chapter focuses on the analysis of the concrete performance of the farmers' alienation by the city. The artist unfolds this alienation in the picture and strikes the audience's mind. After the city's alienation, farmers seek to assimilate and enrich themselves and enrich themselves in the pursuit of assimilation. In the pursuit of social identity, it is gradually turned into a sense of self identity, acknowledges himself, affirms himself, and gradually forms a strong subjective consciousness in adversity, and gradually waver the status quo of low identity. In this paper, the importance of the political discourse and the subjective consciousness of the artists is fully examined in the analysis of the image of the peasants, and the main meaning of the Chinese peasant image is derived from the two. The author looks at the modern art of the whole of China, and adds fresh elements to the analysis of farmers' image in farmers' paintings, and finally returns to the main purpose of this article to analyze the changes in the social status of the Chinese peasants.
【學(xué)位授予單位】：山東建筑大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J205

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本文編號：1994702