试论四川“伤痕油画”
摘要
“伤痕”美术是中国美术领域的重要艺术现象,而“伤痕”油画是研究这一现象的重要部分,对四川“伤痕”油画较为全面深入的剖析是研究四川油画现象的重要课题之一,对四川油画的发展具有很重要的意义。本文主要以四川“伤痕”油画为切入点,以社会学为主要研究方法,多方位、多角度透视各种美术现象,总结经验,把握规律性的东西。就“伤痕”油画与其他艺术现象和形式之间的联系,我作了较多的比较、分析和深入的研究。
“伤痕”油画家以及它们的油画作品本身并不是为了“伤痕”而伤痕,这种情况与“伤痕”文学具有一致性。画家们身处现实,亲历了“文革”的残酷和“文革”后的变化,他们心中有一种强烈的情感需要表达。当时的时代背景直接导致了油画语言和技法的单一,但这些作品表现的主题思想和批判性情感却显示了新时期美术创作正在挣脱“红光亮”模式笼罩下的虚假。“油画”这一画种也凭借着它良好的写实性和画面强烈的视觉冲击力在“后文革”美术时期继续着它的主导地位。处于“伤痕”浪潮中的四川油画,承载了油画艺术向新时期艺术形式过渡的责任。今天看来,“伤痕”油画只是我们记忆中的存在,似乎已经与当下的艺术状态相去甚远,而事实上它和今天的艺术有着很多的联系,并且影响深远。回顾“伤痕”油画的历史,其实是在给当代油画寻找更合适的定位。就新时期的四川美术状况来看,“伤痕”油画具有很强的当代性和前卫性。
在通过较为全面的分析和研究之后,我得出这样一个结论:四川“伤痕”油画在四川乃至中国油画史上都有着举足轻重的地位,它直接影响了四川油画的发展轨迹,是中国当代前卫艺术的先导。
‘The scar’the fine arts is an important artistic phenomenon in Chinese fine art field, and the "scar" oil painting takes a dominant part in studying this important phenomenon, it is one of the most important topics in Sichuan painting to getting a comprehensive and in-depth analysis of Sichuan oil painting, which has very important significance to the development of Sichuan oil painting. This papers is mainly in Sichuan’scar’painting as a focal point, uses sociology as main research method, multi-faceted, multi-angle perspective of various arts phenomenon , sums up experience, grasps regularities. I have made more comparative, analytical and thorough research on the connections between the‘scar’oil painting and other artistic form and phenomenon.
‘The scar’the oil painters as well as their oil painting work itself certainly is not for‘the scar’but the scar, this kind of situation has the uniformity with‘literature of the wounded’. The painters’body place reality has experienced the cruelty of‘the Great Cultural Revolution’and the change after it, there is a strong need to express their feelings. The historical background has directly caused the oil painting language and technique sole, however, these work performance main thoughts and the critique emotion had actually indicated a new era in creative arts free from the‘red light’mode enveloped false.‘The oil painting’this painting plant is by virtue of its good realistic and strong visual impact is continuing its dominant position in‘the After Cultural Revolution’period. In‘scar’tide’s Sichuan oil painting art, bearing responsibility for the transition to the new era art forms. Today, the‘scar’oil painting exists only in our memory, and it seems far away from the current state of the art, but in fact, it has a lot of connections with today’s art, and a far-reaching impact. Recalling the history of the‘scar’oil painting is actually to find a more suitable location for contemporary painting. As far as the condition of the new era’s Sichuan Art is concerned, the‘scar’oil painting is of great contemporary and avant-garde painting nature.
According to the comprehensive analysis and research, I have drawn this conclusion: Sichuan‘scar’oil painting has a significant status not only in Sichuan but also in the history of Chinese painting. Which has a direct impact on the development path of the Sichuan’s oil painting, also is China’s leading contemporary avant-garde art.
“伤痕”油画家以及它们的油画作品本身并不是为了“伤痕”而伤痕,这种情况与“伤痕”文学具有一致性。画家们身处现实,亲历了“文革”的残酷和“文革”后的变化,他们心中有一种强烈的情感需要表达。当时的时代背景直接导致了油画语言和技法的单一,但这些作品表现的主题思想和批判性情感却显示了新时期美术创作正在挣脱“红光亮”模式笼罩下的虚假。“油画”这一画种也凭借着它良好的写实性和画面强烈的视觉冲击力在“后文革”美术时期继续着它的主导地位。处于“伤痕”浪潮中的四川油画,承载了油画艺术向新时期艺术形式过渡的责任。今天看来,“伤痕”油画只是我们记忆中的存在,似乎已经与当下的艺术状态相去甚远,而事实上它和今天的艺术有着很多的联系,并且影响深远。回顾“伤痕”油画的历史,其实是在给当代油画寻找更合适的定位。就新时期的四川美术状况来看,“伤痕”油画具有很强的当代性和前卫性。
在通过较为全面的分析和研究之后,我得出这样一个结论:四川“伤痕”油画在四川乃至中国油画史上都有着举足轻重的地位,它直接影响了四川油画的发展轨迹,是中国当代前卫艺术的先导。
‘The scar’the fine arts is an important artistic phenomenon in Chinese fine art field, and the "scar" oil painting takes a dominant part in studying this important phenomenon, it is one of the most important topics in Sichuan painting to getting a comprehensive and in-depth analysis of Sichuan oil painting, which has very important significance to the development of Sichuan oil painting. This papers is mainly in Sichuan’scar’painting as a focal point, uses sociology as main research method, multi-faceted, multi-angle perspective of various arts phenomenon , sums up experience, grasps regularities. I have made more comparative, analytical and thorough research on the connections between the‘scar’oil painting and other artistic form and phenomenon.
‘The scar’the oil painters as well as their oil painting work itself certainly is not for‘the scar’but the scar, this kind of situation has the uniformity with‘literature of the wounded’. The painters’body place reality has experienced the cruelty of‘the Great Cultural Revolution’and the change after it, there is a strong need to express their feelings. The historical background has directly caused the oil painting language and technique sole, however, these work performance main thoughts and the critique emotion had actually indicated a new era in creative arts free from the‘red light’mode enveloped false.‘The oil painting’this painting plant is by virtue of its good realistic and strong visual impact is continuing its dominant position in‘the After Cultural Revolution’period. In‘scar’tide’s Sichuan oil painting art, bearing responsibility for the transition to the new era art forms. Today, the‘scar’oil painting exists only in our memory, and it seems far away from the current state of the art, but in fact, it has a lot of connections with today’s art, and a far-reaching impact. Recalling the history of the‘scar’oil painting is actually to find a more suitable location for contemporary painting. As far as the condition of the new era’s Sichuan Art is concerned, the‘scar’oil painting is of great contemporary and avant-garde painting nature.
According to the comprehensive analysis and research, I have drawn this conclusion: Sichuan‘scar’oil painting has a significant status not only in Sichuan but also in the history of Chinese painting. Which has a direct impact on the development path of the Sichuan’s oil painting, also is China’s leading contemporary avant-garde art.
引文
① 邵大箴:《无愧于时代的艺术——1977-1989 年的中国油画》,艾中信主编:《中国现代美术全集》(油画,卷 3),天津人民美术出版社,1997,第 9 页。
①栗宪庭,《重要的不是艺术》,江苏美术出版社,2000.8。
① 贺万里,《永远的前卫——中国现代艺术的反思与批判》,郑州:郑州大学出版社,2003.7,第 15页。
① 陈瑞林,《20 世纪中国美术教育历史研究》,北京:清华大学出版社,2006.6,第 247 页
① 李铸力,万青力,《中国现代绘画史·当代之部》,上海:文汇出版社,2004.7,第 43 页。
① 贺万里,《永远的前卫——中国现代艺术的反思与批判》,郑州:郑州大学出版社,2003.7,第 19-20页。
① 高名潞,《中国当代美术史 1985—1986》,浙江:上海人民出版社,1991,第 37 页。
① 高小华,《美术》杂志,1979 年第 5 期。
② 高名潞,《近年油画发展中的流派》,《美术》,1985,第 7 期。
① 易英,《学院的黄昏》,湖南:湖南美术出版社,2001,第 318 页。
① 王瑞芸,《20 世纪美国美术》,北京,文化艺术出版社,1997,第 62 页。
① 杨一江,《“方言”、“语境”与地方油画:论云南油画》,北京:中国社会科学出版社,2004.12,第 109 页。
① 易英,《学院的黄昏》,湖南:湖南美术出版社,2001,第 488 页。
① 孙振华,《在艺术的背后》,湖南,湖南美术出版社,2003,第 1 页。
① 易英,《学院的黄昏》,湖南:湖南美术出版社,2001 年版,第 215-217 页。
①高名潞,《中国前卫艺术》,江苏美术出版社,2000,第 54 页。
① 邹建平,易丹,《中国当代艺术倾向丛书:星星历时》长沙:湖南美术出版社,2002.1,第 9-10页。
① 吕澎,易丹,《中国现代美术史〈1979-1989〉》,湖南美术出版社出版,1992。
① 鲁虹,孙振华,《艺术与社会:26 位著名批评家纵谈中国当代艺术的转向》,长沙:湖南美术出版社,2005,第 2 页。
(1) 席扬,吴文华:《20 世纪中国文学思潮史论》,时代文艺出版社2001 。
(2) 邵大箴:《无愧于时代的艺术——1977-1989 年的中国油画》,艾中信主编:《中国现代美术全集》(油画,卷3),天津人民美术出版社,1997。
(3) 栗宪庭,《重要的不是艺术》,江苏美术出版社,2000。
(4) 贺万里,《永远的前卫——中国现代艺术的反思与批判》,郑州:郑州大学出版社,2003.7。
(5) 陈瑞林,《20 世纪中国美术教育历史研究》,北京:清华大学出版社,2006.6。
(6) 刘淳,《中国油画名作100 讲》,天津:百花文艺出版社,2006.5
(7) 李铸力,万青力,《中国现代绘画史·当代之部》,上海:文汇出版社,2004.7。
(8) 高名潞,《中国当代美术史1985—1986》,浙江:上海人民出版社,1991。
(9) 高小华,《美术》杂志,1979 年第5 期。
(10) 高名潞,《近年油画发展中的流派》,《美术》,1985,第7 期。
(11) 易英,《学院的黄昏》,湖南:湖南美术出版社,2001。
(12) 王瑞芸,《20 世纪美国美术》,北京,文化艺术出版社,1997。
(13) 杨一江,《“方言”、“语境”与地方油画:论云南油画》,北京:中国社会科学出版社,2004.12。
(14) 高名潞,《中国前卫艺术》,江苏美术出版社,2000。
(15) 邹建平,易丹,《中国当代艺术倾向丛书:星星历时》长沙:湖南美术出版社,2002.1。
(16) 吕澎,易丹,《中国现代美术史〈1979-1989〉》,湖南美术出版社出版,1992。
(17) 鲁虹,孙振华,《艺术与社会:26 位著名批评家纵谈中国当代艺术的转向》,长沙:湖南美术出版社,2005。
(18) 苏林,《二十世纪中国油画图库(1990—2000)》,广西美术出版社,2001。
(19) 易英,《从英雄颂歌到平凡的世界——中国现代美术思潮》,北京:中国人民大学出版社,2004。
①栗宪庭,《重要的不是艺术》,江苏美术出版社,2000.8。
① 贺万里,《永远的前卫——中国现代艺术的反思与批判》,郑州:郑州大学出版社,2003.7,第 15页。
① 陈瑞林,《20 世纪中国美术教育历史研究》,北京:清华大学出版社,2006.6,第 247 页
① 李铸力,万青力,《中国现代绘画史·当代之部》,上海:文汇出版社,2004.7,第 43 页。
① 贺万里,《永远的前卫——中国现代艺术的反思与批判》,郑州:郑州大学出版社,2003.7,第 19-20页。
① 高名潞,《中国当代美术史 1985—1986》,浙江:上海人民出版社,1991,第 37 页。
① 高小华,《美术》杂志,1979 年第 5 期。
② 高名潞,《近年油画发展中的流派》,《美术》,1985,第 7 期。
① 易英,《学院的黄昏》,湖南:湖南美术出版社,2001,第 318 页。
① 王瑞芸,《20 世纪美国美术》,北京,文化艺术出版社,1997,第 62 页。
① 杨一江,《“方言”、“语境”与地方油画:论云南油画》,北京:中国社会科学出版社,2004.12,第 109 页。
① 易英,《学院的黄昏》,湖南:湖南美术出版社,2001,第 488 页。
① 孙振华,《在艺术的背后》,湖南,湖南美术出版社,2003,第 1 页。
① 易英,《学院的黄昏》,湖南:湖南美术出版社,2001 年版,第 215-217 页。
①高名潞,《中国前卫艺术》,江苏美术出版社,2000,第 54 页。
① 邹建平,易丹,《中国当代艺术倾向丛书:星星历时》长沙:湖南美术出版社,2002.1,第 9-10页。
① 吕澎,易丹,《中国现代美术史〈1979-1989〉》,湖南美术出版社出版,1992。
① 鲁虹,孙振华,《艺术与社会:26 位著名批评家纵谈中国当代艺术的转向》,长沙:湖南美术出版社,2005,第 2 页。
(1) 席扬,吴文华:《20 世纪中国文学思潮史论》,时代文艺出版社2001 。
(2) 邵大箴:《无愧于时代的艺术——1977-1989 年的中国油画》,艾中信主编:《中国现代美术全集》(油画,卷3),天津人民美术出版社,1997。
(3) 栗宪庭,《重要的不是艺术》,江苏美术出版社,2000。
(4) 贺万里,《永远的前卫——中国现代艺术的反思与批判》,郑州:郑州大学出版社,2003.7。
(5) 陈瑞林,《20 世纪中国美术教育历史研究》,北京:清华大学出版社,2006.6。
(6) 刘淳,《中国油画名作100 讲》,天津:百花文艺出版社,2006.5
(7) 李铸力,万青力,《中国现代绘画史·当代之部》,上海:文汇出版社,2004.7。
(8) 高名潞,《中国当代美术史1985—1986》,浙江:上海人民出版社,1991。
(9) 高小华,《美术》杂志,1979 年第5 期。
(10) 高名潞,《近年油画发展中的流派》,《美术》,1985,第7 期。
(11) 易英,《学院的黄昏》,湖南:湖南美术出版社,2001。
(12) 王瑞芸,《20 世纪美国美术》,北京,文化艺术出版社,1997。
(13) 杨一江,《“方言”、“语境”与地方油画:论云南油画》,北京:中国社会科学出版社,2004.12。
(14) 高名潞,《中国前卫艺术》,江苏美术出版社,2000。
(15) 邹建平,易丹,《中国当代艺术倾向丛书:星星历时》长沙:湖南美术出版社,2002.1。
(16) 吕澎,易丹,《中国现代美术史〈1979-1989〉》,湖南美术出版社出版,1992。
(17) 鲁虹,孙振华,《艺术与社会:26 位著名批评家纵谈中国当代艺术的转向》,长沙:湖南美术出版社,2005。
(18) 苏林,《二十世纪中国油画图库(1990—2000)》,广西美术出版社,2001。
(19) 易英,《从英雄颂歌到平凡的世界——中国现代美术思潮》,北京:中国人民大学出版社,2004。