新中国美术中的农民形象研究

发布时间：2018-05-22 18:26

本文选题：农民形象 + 意识形态　；参考：《山东师范大学》2014年硕士论文

【摘要】：对“农民形象”进行社会学解读、意识形态分析、图式类型演变归纳以及视点研究，是当前学界针对农民形象这一美术符号进行研究所主要涉及的几个方面。每一种审视问题的方法和角度，必然在揭示一些问题的同时也在遮蔽另外一些问题。由此，这为本文寻求另外一种理论视角对农民形象进行不同面向的学理分析提供了可能。本文从话语理论出发，沿着“中国美术现代性”这一历史性线索，重新回到形象生产的历史语境，立足于不同历史时期农民形象的生成机制，以形象话语实践和意识形态机制互证为视角，考察农民形象所承载的意识形态诉求及创作主体对农民形象的“想象”和表达。同时，立足于当前“中国美术与国家形象”的研究课题，考察新中国美术史中的农民形象与国家形象之间的互文表征关系。也就是说，本文的出发点不是研究“那个时代创造了什么样的农民形象”，而是研究“农民形象这一美术符号系统表征了什么”的问题。即考察1949年以来不同历史时期的中国美术是如何对农民形象进行想象和表达的，这种想象生成于怎么的文化意识形态，对农民形象的塑造，又是以何种视觉形象的彰显作为形象话语实践的“意义”结果的。本文共分为四个部分：绪论部分，综述了当前学界对农民形象的研究现状，以理论视角进行了归纳和分类，同时简述了本文的研究方法和研究意义。第一章，详述了新中国美术在“十七年”和“文革”十年当中对农民形象进行的形象塑造，阐释了“社会主义新型农民形象”与国家形象建构的综合文化关联。新中国的成立，预示着对旧形象的告别，同时开启了对新形象的塑造。在50—70年代发生于新中国这一特定历史语境的形象话语实践，建构了一种全新的农民形象：社会主义新型农民。农民形象在中/西、古/今的“断裂”历史语境中被塑造成一种全新的表意符号，承载着时代中人的想象和实践，也在国内国际环境中借农民形象塑造的表意实践，构成了表征新中国国家形象的内涵，以及在意识形态规约下进行视觉化生产的话语表述形式。第二章，以“现代性”为视角，论述了农民形象在80年代中国美术的特殊历史境况，阐述了80年代中国美术在对农民形象这一视觉符号进行表达的过程中所遭遇的矛盾和悖论。在80年代的文化语境里，中国美术现代性在传统/现代、中国/西方二元对立的逻辑延展当中呈现出颇有意味的表现形式和特点。而作为“新时期”的80年代对农民形象的形象话语实践，在与毛泽东时代美术中的农民形象互为差异的形象彰显中，表征了中国美术现代性之路的复杂面向。以“现代性”为视角考察80年代中国美术中的农民形象，，可以深度解读出中国美术在自塑与他塑、想象与实践之间的互动关系，进而把握农民形象在80年代的历史情境当中所彰显的符号意涵。第三章，论述了农民形象在特定的时代语境当中所面对的新的“用法”和“意义”。在90年代的全球语境里，“后殖民话语”和跨国资本对中国美术的选择机制，使90年代以来的中国美术对农民形象的表达，呈现出形象的多样化、视角的多元化、审美诉求的复杂化等特点，构成了新中国美术中描绘农民形象最丰富也最具反思意味的形象实践特征。结语部分，对农民形象在当前历史情境下所承载的意识形态功能和符号表征关系作了个人观点的阐述。在全球化当中，西方依旧作为主导权力话语的一方，以自身“有意味”的“眼光”和“趣味”观看其他民族国家的艺术。如何在世界范围内进行艺术交流，是以“文化自觉”进行“民族文化身份”建构的实践诉求当中必须思考的首要问题。在这里，不可能仅仅追求自身“民族”的特色，以“民族化”为目的自说自话。若想与西方强势话语进行对话，中国本土艺术就不得不先进入世界文化这个“整体”，然后再言说自己的“故事”。对农民形象的重塑和建构，正可以使其作为一种独特的文化符号而表征当下“对话”语境中的权力关系。
[Abstract]:The sociological interpretation of the "peasant image", the analysis of ideology, the induction of the evolution of the schema type and the study of the point of view are the main aspects of the study of the artistic symbol of the peasant image at present. Therefore, this provides another theoretical perspective for the theoretical analysis of the farmers' image.
This paper, starting from the discourse theory, returns to the historical context of "the modernity of Chinese art", and returns to the historical context of the image production, based on the generation mechanism of the image of the peasants in different historical periods, and examines the ideological demands and creative subjects of the image of the peasants and people with the visual angle of the mutual evidence of the image discourse practice and the ideological mechanism. At the same time, based on the current research topic of "Chinese art and national image", this paper examines the intertextual representation between the image of farmers and the image of the country in the history of Chinese art. That is to say, the starting point of this article is not to study "what kind of peasant image created in that era", but the starting point of this article. The question of "what is the symbol system of the image of the peasant image" is studied. It is to examine how Chinese Fine Arts in different historical periods have been imagining and expressing the image of the peasants since the 1949. The result of the "meaning" of the practice of discourse.
This article is divided into four parts:
In the introduction part, it summarizes the current research situation on the image of farmers in the academic circles, generalizes and classifies them in a theoretical perspective, and gives a brief account of the research methods and significance of this paper.
In the first chapter, the image of the new Chinese art in the ten years of "seventeen years" and "the Cultural Revolution" is described, and the comprehensive cultural association of the "new socialist peasant image" and the construction of the national image is explained. The establishment of new China indicates the farewell to the old image and the creation of the new image at the same time in 50 - The image discourse practice, which took place in the particular historical context of the new China in 70s, constructed a new peasant image: a new socialist farmer. The image of the peasant was shaped into a new ideographic symbol in the historical context of the middle / West and the ancient / modern "fracture", carrying the imagination and practice of the people in the time generation, and in the domestic and international circles. The ideographic practice, shaped by the image of the peasants, constitutes the connotation of the characterization of the new China and the discourse expression of the visual production under the ideological stipulation.
The second chapter, from the perspective of "Modernity", expounds the special historical situation of the Chinese Fine Arts in the 80s, and expounds the contradictions and paradoxes encountered in the process of the expression of the visual symbols of the peasants' image in the 80s. In the cultural context of 80s, the modernity of Chinese art is in the traditional / modern, China / West. In the logic extension of Fang Eryuan's opposition, the form and characteristics of the expression of the image of the peasants in the "new period" in 80s showed the complex orientation of the road of the modernity of Chinese Fine Arts in the image of the peasant image in the art of Mao Zedong. To examine the image of farmers in Chinese Fine Arts in 80s, we can deeply understand the interaction between Chinese art in self plastic and his plastic, imagination and practice, and then grasp the symbolic meaning of the peasant image in the historical situation of 80s.
The third chapter discusses the new "usage" and "meaning" of the farmers' image in the specific context of the times. In the global context of the 90s, the "post colonial discourse" and the selection mechanism of transnational capital to Chinese fine arts have made the expression of Chinese Fine Arts in the form of peasant images diversified and visual angle of view since 90s. Pluralism and the complexity of aesthetic appeals constitute the most abundant and most reflective practical characteristics of farmers in the art of new China.
In the concluding part, the author makes a personal view of the ideological function and symbolic representation of the peasant image in the current historical situation. In the globalization, the west is still a party of the dominant power discourse, and looks at the art of other nationalities in the world with its own "meaningful" "eye" and "interest". Artistic communication within the scope is the first question that must be considered in the practice appeal of "cultural identity" in the construction of "national cultural identity". Here, it is impossible to pursue the characteristics of its own "nationality", and speak itself for the purpose of "nationalization". If you want to talk to the strong words of the west, Chinese local art is We have to first enter the "whole" of the world culture, and then talk about his own "story". The reconstruction and construction of the image of the peasants can be made as a unique cultural symbol to characterize the power relationship in the context of the present "dialogue".
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

【参考文献】