【摘要】：新中國初期山水畫延續(xù)著新文化運動以來對傳統(tǒng)山水畫的革新思潮,新文化運動以來,革新思潮的爭論主要在取法資源上或中西融合或借古開今。隨著舊的社會制度的消亡和外來文化的影響,傳統(tǒng)的價值取向、評價體系和審美趣味在發(fā)生著演變。傳統(tǒng)山水畫的價值功能發(fā)生根本變化,由傳統(tǒng)“澄懷觀道”、“隱逸”思想的“出世”轉(zhuǎn)變成為政治服務(wù)、為工農(nóng)兵服務(wù)、為人民服務(wù)的“入世”。以價值功能的轉(zhuǎn)變?yōu)楹诵?帶來題材內(nèi)容、表現(xiàn)方法、審美趣味等變化。而美協(xié)、畫院等新中國美術(shù)體制的建立,蘇聯(lián)現(xiàn)實主義思潮的影響,新年畫的示范作用,促使山水畫政治價值功能的轉(zhuǎn)變,國畫的社會主義改造成為現(xiàn)實。價值功能轉(zhuǎn)變?yōu)闉槿嗣穹⻊?wù),題材內(nèi)容轉(zhuǎn)變?yōu)榉从超F(xiàn)實生活,表現(xiàn)方法轉(zhuǎn)變?yōu)椤巴脐惓鲂隆薄ⅰ肮艦榻裼?洋為中用”,于是新的山水視覺觀念形成。在表現(xiàn)現(xiàn)實生活的政治取向下山水畫家開始直面自然進行寫生,而這時的寫生既不同于西方繪畫的寫實觀念下的對景寫生,也不同于中國傳統(tǒng)山水畫“師造化”的心識目記。而是兩者相互融合,互相補充,通過寫生使陳陳相因的山水傳統(tǒng)模式被阻斷,使山水表現(xiàn)題材范圍不斷擴大,使新表現(xiàn)方法被主動創(chuàng)造。以李可染為代表的中西融合派和以石魯、傅抱石為代表的“以古開今”派都在新時代中取得了突破性發(fā)展。由于延安時期經(jīng)驗影響和蘇聯(lián)模式的制約,受當時政治氛圍、時代情境的影響,新中國初期山水畫也存在片面強調(diào)政治宣傳作用,不尊重藝術(shù)本體規(guī)律,忽略了對傳統(tǒng)筆墨、意境的傳承問題。這些影響和制約了這一時期山水畫的發(fā)展,代價沉重,且影響至今。本文主要論述在新中國初期時代背景下山水畫的發(fā)展和原因,本文分為四部分,第一部分分析新中國初期山水畫產(chǎn)生的背景,主要從創(chuàng)新思潮的論爭,文藝方針的指導,美術(shù)體制的建立,蘇聯(lián)模式的影響,新年畫的示范作用幾方面論述了這一時代抉擇新中國初期中國畫發(fā)展道路的原因,第二部分論述新中國初期山水畫轉(zhuǎn)變的表現(xiàn),即從價值取向、題材內(nèi)容、表現(xiàn)方法的轉(zhuǎn)變。第三部分論述取得這一時期山水畫藝術(shù)成就的途徑,即面向生活的寫生圖新,融合中西的洋為中用,立足傳統(tǒng)的借古開今。
[Abstract]:Landscape paintings in the early years of New China continued the trend of innovation of traditional landscape paintings since the New Culture Movement. Since the New Culture Movement, the controversy about the trend of innovation has mainly focused on the use of resources or the integration of China and the West or the opening up of the present. The value function of traditional landscape paintings has changed fundamentally, from the traditional "Chenghuaiguandao" to the "birth" of "seclusion" to the political service, serving the workers, peasants and soldiers, serving the people. The establishment of the new Chinese art system, the influence of the realism of the Soviet Union and the demonstration of the New Year's paintings have promoted the transformation of the political value function of landscape paintings and the socialist transformation of traditional Chinese paintings into reality. Under the political orientation of expressing the real life, landscape painters began to face the nature to sketch, which is different from the realistic concept of Western painting, and also different from the traditional Chinese landscape painting "teacher-made" mental memory. Through sketching, Chen Xiangyin's traditional landscape pattern was blocked, the scope of landscape theme was expanded, and new expression methods were actively created. Due to the influence of Yan'an period experience and the restriction of Soviet model, influenced by the political atmosphere and the times situation, the landscape paintings in the early years of New China also emphasized the role of political propaganda unilaterally, did not respect the law of art noumenon, neglected the inheritance of traditional brush and ink and artistic conception. This paper mainly discusses the development and reasons of landscape painting in the early period of New China. The first part analyzes the background of landscape painting in the early period of New China, mainly from the controversy of innovative ideas, the guidance of literary and artistic principles, the establishment of art system, the influence of the Soviet Union model, and the demonstration of New Year's painting. The second part discusses the expression of the change of landscape painting in the early period of New China, that is, the change of value orientation, theme content and expression method. Integration of Chinese and Western cultures serves China's purpose.
【學位授予單位】：西安美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212

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本文編號：2234188