新中國前十七年時(shí)期繪畫作品中兒童形象研究
發(fā)布時(shí)間：2018-09-10 16:18
【摘要】：兒童形象的制作以及傳播,能夠投射一個(gè)國家在一個(gè)時(shí)期對(duì)兒童的期待、對(duì)民眾的人文關(guān)懷。本文聚焦前十七年時(shí)期(1949——966)出現(xiàn)在大眾視野中的兒童繪畫形象,整理、歸納、分析兒童圖像,以作品受眾的不同,歸納不同的兒童形象類型,理解圖像背后投射的成人話語——以成人作為受眾的作品,兒童形象成為成年人表達(dá)訴求的符號(hào);以兒童為受眾的作品,兒童形象成為教育下一代的榜樣;沒有明確受眾指向的作品,兒童形象是畫家寄托真善美的對(duì)象。前十七年時(shí)期兒童形象通常以零星且不具體的方式影響著社會(huì)生活,這些形象的生成既有權(quán)利精英影響,也有創(chuàng)作者遵循藝術(shù)自律,追求藝術(shù)與政治平衡的努力,它們是中國國情的產(chǎn)物,是具有政治符號(hào)意味的藝術(shù)圖像。論文擬采用四部分展開研究:第一章分別考察前十七年政治背景下美術(shù)與兒童。本文旨在考察前十七年時(shí)期的兒童形象,但繪畫作品中關(guān)于兒童形象的創(chuàng)作并不是主流,故而前十七年時(shí)期,關(guān)于如何創(chuàng)作兒童形象并沒有專門理論指導(dǎo),因而,創(chuàng)作者們?nèi)绾卧诶L畫作品中塑造兒童形象往往需要依賴兩把標(biāo)尺:美術(shù)創(chuàng)作的標(biāo)準(zhǔn)是什么?人們?nèi)绾慰创齼和?美術(shù)創(chuàng)作的標(biāo)準(zhǔn)指導(dǎo)創(chuàng)作者們接受什么樣的創(chuàng)作思想指導(dǎo)工作,并如何開展工作。而人們的兒童觀則決定創(chuàng)造出什么樣的兒童形象。第二章是對(duì)于兒童形象的基本分類。藝術(shù)作品一旦進(jìn)入公眾視域,必然會(huì)面對(duì)諸多認(rèn)知背景大相徑庭的受眾,因此,有經(jīng)驗(yàn)的創(chuàng)作者在創(chuàng)作之前往往會(huì)對(duì)作品進(jìn)行觀賞對(duì)象分類預(yù)設(shè),因?yàn)樽髌肥鼙姷牟町?決定作品傳達(dá)的精髓也將不同。按照作品觀賞對(duì)象進(jìn)行劃分,本文大致將前十七年時(shí)期的兒童形象分為三類：一類是以成人作為觀賞對(duì)象的兒童形象、一類以兒童為觀賞對(duì)象的兒童形象、一類沒有預(yù)設(shè)受眾的兒童形象。成人為受眾的兒童形象在作品中是一種符號(hào),兒童形象的塑造不以刻畫兒童獨(dú)特的個(gè)性為主要任務(wù),而是塑造出有社會(huì)功用的符號(hào)圖像。以兒童為受眾,教育兒童是目標(biāo),是成人為培養(yǎng)社會(huì)主義接班人塑造的榜樣,兒童形象塑造的依據(jù)不是"兒童是什么樣",而是"兒童應(yīng)該是什么樣"。而沒有預(yù)設(shè)受眾的形象,是超越政治的創(chuàng)造,作品試圖指向人類的心靈與未來,寄托人類共同擁有的情感和向往的理想境界。第三章是分析對(duì)新中國兒童形象造成影響的兩方面因素。一方面來自對(duì)前蘇聯(lián)繪畫語言和繪畫中表現(xiàn)意識(shí)形態(tài)方式的借鑒,一方面來自對(duì)老解放區(qū)美術(shù)傳統(tǒng)的繼承,特別是老解放區(qū)繪畫形象中的民間元素和革命宣傳性樣式。第四章分析兒童形象背后投射的文化內(nèi)涵。考察兒童形象背后投射出的社會(huì) 4生活、文化語境尤其是兒童的生活與文化背景。
[Abstract]:The production and dissemination of children's images can project a country's expectation for children and humanistic concern for the people. This paper focuses on the children's painting images which appeared in the public view during the first seventeen years (1949-966), collates, induces and analyzes the children's images, and sums up different types of children's images according to the audiences of the works. To understand the adult discourse projected behind the image-the works with adults as the audience, the child image as the symbol for adults to express their demands, the child image as the example for the education of the next generation, and the works with children as the audience; There is no clear audience to the works, the image of children is the artist entrusted with the object of truth, good and beauty. In the first seventeen years, the images of children usually influence social life in sporadic and unspecific ways. These images are influenced by the right elites, and also by the creators' efforts to follow the artistic self-discipline and pursue the balance between art and politics. They are the product of China's national conditions and artistic images with political symbols. The first chapter investigates the art and children in the political background of the first 17 years. The purpose of this paper is to investigate the children's image in the first seventeen years, but the creation of children's image in the painting works is not the mainstream. Therefore, there is no special theoretical guidance on how to create the child image in the first seventeen years, so, How to create a child image in a painting often depends on two rulers: what is the standard of art creation? What do people think of children? The standard of art creation instructs the creators to accept what kind of creative ideology guidance and how to carry out the work. But people's view of children decides what kind of child image to create. The second chapter is the basic classification of the image of children. Once a work of art enters the public horizon, it will inevitably face a wide variety of audiences with different cognitive backgrounds. Therefore, experienced creators often presuppose the objects of appreciation before they are created, because the audience of the works is different. Determining the essence of the work will also be different. According to the objects of the works, this paper divides the images of children in the first seventeen years into three categories: one is the image of children with adults as the object of viewing, the other is the image of children who take children as objects of appreciation. A class of children with no preset audience. The child image of adult as the audience is a kind of symbol in the works. The main task of the child image is not to portray the unique personality of the child, but to create the symbolic image with social function. Taking children as the audience, educating children is the goal and the example for adults to cultivate socialist successors. The basis of children's image is not "what kind of children", but "what kind of children should be". The image of no preset audience is beyond the creation of politics. The works try to point to the human mind and the future, and place the emotion and yearning ideal state that the human beings share together. The third chapter is the analysis of the impact on the image of children in two aspects of the new China. On the one hand, it comes from the drawing language of the former Soviet Union and the expression of ideology in painting, on the other hand, it comes from the inheritance of the fine arts tradition in the old liberated areas, especially from the folk elements and revolutionary propaganda styles in the painting images of the old liberated areas. The fourth chapter analyzes the cultural connotation of the projection behind the image of children. The social life, the cultural context, especially the children's life and cultural background are investigated.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J209.2
，
本文編號(hào)：2234964
[Abstract]:The production and dissemination of children's images can project a country's expectation for children and humanistic concern for the people. This paper focuses on the children's painting images which appeared in the public view during the first seventeen years (1949-966), collates, induces and analyzes the children's images, and sums up different types of children's images according to the audiences of the works. To understand the adult discourse projected behind the image-the works with adults as the audience, the child image as the symbol for adults to express their demands, the child image as the example for the education of the next generation, and the works with children as the audience; There is no clear audience to the works, the image of children is the artist entrusted with the object of truth, good and beauty. In the first seventeen years, the images of children usually influence social life in sporadic and unspecific ways. These images are influenced by the right elites, and also by the creators' efforts to follow the artistic self-discipline and pursue the balance between art and politics. They are the product of China's national conditions and artistic images with political symbols. The first chapter investigates the art and children in the political background of the first 17 years. The purpose of this paper is to investigate the children's image in the first seventeen years, but the creation of children's image in the painting works is not the mainstream. Therefore, there is no special theoretical guidance on how to create the child image in the first seventeen years, so, How to create a child image in a painting often depends on two rulers: what is the standard of art creation? What do people think of children? The standard of art creation instructs the creators to accept what kind of creative ideology guidance and how to carry out the work. But people's view of children decides what kind of child image to create. The second chapter is the basic classification of the image of children. Once a work of art enters the public horizon, it will inevitably face a wide variety of audiences with different cognitive backgrounds. Therefore, experienced creators often presuppose the objects of appreciation before they are created, because the audience of the works is different. Determining the essence of the work will also be different. According to the objects of the works, this paper divides the images of children in the first seventeen years into three categories: one is the image of children with adults as the object of viewing, the other is the image of children who take children as objects of appreciation. A class of children with no preset audience. The child image of adult as the audience is a kind of symbol in the works. The main task of the child image is not to portray the unique personality of the child, but to create the symbolic image with social function. Taking children as the audience, educating children is the goal and the example for adults to cultivate socialist successors. The basis of children's image is not "what kind of children", but "what kind of children should be". The image of no preset audience is beyond the creation of politics. The works try to point to the human mind and the future, and place the emotion and yearning ideal state that the human beings share together. The third chapter is the analysis of the impact on the image of children in two aspects of the new China. On the one hand, it comes from the drawing language of the former Soviet Union and the expression of ideology in painting, on the other hand, it comes from the inheritance of the fine arts tradition in the old liberated areas, especially from the folk elements and revolutionary propaganda styles in the painting images of the old liberated areas. The fourth chapter analyzes the cultural connotation of the projection behind the image of children. The social life, the cultural context, especially the children's life and cultural background are investigated.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J209.2
，
本文編號(hào)：2234964
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