上海连环画发展史研究（1949-1966）
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摘要
研究将连环画艺术与社会的关系作为重点,深入时代语境,考察1966年“文革”开始前17年间上海连环画的发展过程。论文不局限于单一的外部研究或内部研究的方法,而是从行业基础、创作、传播、批评、与美术界的关系等5个方面阐述这段历史,从连环画的角度打开了一扇敞向中国美术文化发展史景观的新视窗。
前言介绍选题背景,阐述阿英、李树、陈履生、潘耀昌等人的文章推动连环画史研究的作用,以及从社会史角度考察连环画传播现象的方法论意义。正文第一章概述20世纪40年代末50年代初上海连环画行业基础状况,分析连环画工作者为争取行业生存机会发表公开信事件个案,交代了社会转型期的时代背景。第二章揭示社会转型后上海连环画创作管理工作的变化及其运行机制,总结了脚本编辑、造型设计等创作活动的特征,以及程十发、贺友直等人在编绘风格、表现形式上显示个性特征。第三章研究上海连环画出版发行量统计数据,分析在连环画出版、广告、出租等传播环节的变化,揭示上海连环画工作者在行业整顿中不断改进技术,使有限的资源使用效果最优化的过程。第四章从批评机制、批评事件、批评的批评3个方面,剖析五六十年代上海连环画的舆论环境、及其批评话语意识形态化的过程,梳理上世纪七八十年代以来出现的相关批评,并对之展开批评分析,指出收藏市场带动下的批评所存在的问题。第五章探究五六十年代上海连环画与其它画种间的关系,廓清它对美术界及美术史发展进程的影响,通过讨论“连环画味”、画风“精致化”等问题,总结出这门艺术的独特性、局限性、及历史发展的特殊性等特征。结语部分揭示连环画史研究的现实处境,展望了连环画艺术的发展前景。
本文的创新点是:一、前辈的连环画史研究多为线性叙述,而本文采用多维视角,从20世纪五六十年代这一特殊时段切入上海连环画的发展历史,兼重考察共时性和历时性的现象,将研究工作推向了深入;二、上海是中国连环画行业的重镇,这座城市的五六十年代的连环画传播现象在全国而言是具有代表性意义的。艺术史学界迄今为止出现的连环画史研究成果,都是从全国范围展开考察的,而本文从地域性美术文化的角度切入研究,以上海为中心剖析该市连环画发展历程的同时,也勾画出了当时中国连环画历史的一个缩影;三,连环画文字编辑工作关系到画面的构思和作品整体艺术效果的展现,然而其研究价值一直未受到重视,本文则将这项工作的发展过程纳入了连环画史的研究范围,将连环画视为一个交织了绘画、文学两种创作路径的综合艺术形态,对其五六十年代的艺术发展面貌做了完整的考察。
The editors and illustrators of picture book suffer more interventions from society than other artists. The key to research on the development of picture book is to explore the relationship between art and social change. A panorama view over the development of picture book could be seen with a combined effort of both the“outer research”and the“inner research”. Based on this idea, this paper shows many differences never be found in other relevant research work: exploring the object of study in the context of Shanghai in the 1950s and 1960s with analyzing lots of reports on the local newspaper, the variation of the artists’working conditions and the styles of forms of art work both were studied. Then a window was opened to the scene of Chinese Art history and social history from the angle of Shanghai picture book, within the space from the day that the city was librated by Chinese Libration Army to the eve of“cultural revolution”.
The text included two parts: the preface and the main text. The former summarizes the relevant work of the research, and introduces a background of the history, the latter focuses on 5 aspects: general situation of the development of the line of business of picture book in the first half of 20th century, changes that have taken place in the process of editing and illustrating through 50s to 60s, the variation of the sum of the picture books issued from Shanghai and the situation of book stalls and other relevant service institutions in this city, criticism to the picture book , it’s relationship with the other area of art in Shanghai at that time .
There are 5 chapters in this article. The first chapter takes a brief view at the background of the development of Shanghai picture book by analyzing the cases like that an open letter’s being issued out. The second elaborates 3 new phenomena occurred when the situation of picture book had changed: several objects were set to control the work of editing and illustrating picture book、text is asked to be wrote before illustrate、many chances available to improve the quality of art in picture book. In this chapter, many differences of style of the art work created by several artists would be illuminated. The third illuminates a map of the sum of publish of Shanghai picture book in each year through 50s to 60s in 20th century, and investigates how the book stall and community libraries carry on during the two decades. The fourth focuses on the criticism from readers of picture book, illustrates the mechanic of it and the process how the words of criticism becoming ideologically with the analysis of case studies such as the campaign“against the propaganda of《Wuxun》”and two critical articles. This chapter also explored the view point of the critics occurred recently on the picture book published in Shanghai from 1949 to 1966, and problems exist in the area of criticism at the time the business of that collection is booming. The fifth takes a comparison between the picture book and other art forms such as Print、Illustration, to discuss the relationship between the work of illustrators and art history, and how this art involved into the development of the contemporary art.
前言介绍选题背景,阐述阿英、李树、陈履生、潘耀昌等人的文章推动连环画史研究的作用,以及从社会史角度考察连环画传播现象的方法论意义。正文第一章概述20世纪40年代末50年代初上海连环画行业基础状况,分析连环画工作者为争取行业生存机会发表公开信事件个案,交代了社会转型期的时代背景。第二章揭示社会转型后上海连环画创作管理工作的变化及其运行机制,总结了脚本编辑、造型设计等创作活动的特征,以及程十发、贺友直等人在编绘风格、表现形式上显示个性特征。第三章研究上海连环画出版发行量统计数据,分析在连环画出版、广告、出租等传播环节的变化,揭示上海连环画工作者在行业整顿中不断改进技术,使有限的资源使用效果最优化的过程。第四章从批评机制、批评事件、批评的批评3个方面,剖析五六十年代上海连环画的舆论环境、及其批评话语意识形态化的过程,梳理上世纪七八十年代以来出现的相关批评,并对之展开批评分析,指出收藏市场带动下的批评所存在的问题。第五章探究五六十年代上海连环画与其它画种间的关系,廓清它对美术界及美术史发展进程的影响,通过讨论“连环画味”、画风“精致化”等问题,总结出这门艺术的独特性、局限性、及历史发展的特殊性等特征。结语部分揭示连环画史研究的现实处境,展望了连环画艺术的发展前景。
本文的创新点是:一、前辈的连环画史研究多为线性叙述,而本文采用多维视角,从20世纪五六十年代这一特殊时段切入上海连环画的发展历史,兼重考察共时性和历时性的现象,将研究工作推向了深入;二、上海是中国连环画行业的重镇,这座城市的五六十年代的连环画传播现象在全国而言是具有代表性意义的。艺术史学界迄今为止出现的连环画史研究成果,都是从全国范围展开考察的,而本文从地域性美术文化的角度切入研究,以上海为中心剖析该市连环画发展历程的同时,也勾画出了当时中国连环画历史的一个缩影;三,连环画文字编辑工作关系到画面的构思和作品整体艺术效果的展现,然而其研究价值一直未受到重视,本文则将这项工作的发展过程纳入了连环画史的研究范围,将连环画视为一个交织了绘画、文学两种创作路径的综合艺术形态,对其五六十年代的艺术发展面貌做了完整的考察。
The editors and illustrators of picture book suffer more interventions from society than other artists. The key to research on the development of picture book is to explore the relationship between art and social change. A panorama view over the development of picture book could be seen with a combined effort of both the“outer research”and the“inner research”. Based on this idea, this paper shows many differences never be found in other relevant research work: exploring the object of study in the context of Shanghai in the 1950s and 1960s with analyzing lots of reports on the local newspaper, the variation of the artists’working conditions and the styles of forms of art work both were studied. Then a window was opened to the scene of Chinese Art history and social history from the angle of Shanghai picture book, within the space from the day that the city was librated by Chinese Libration Army to the eve of“cultural revolution”.
The text included two parts: the preface and the main text. The former summarizes the relevant work of the research, and introduces a background of the history, the latter focuses on 5 aspects: general situation of the development of the line of business of picture book in the first half of 20th century, changes that have taken place in the process of editing and illustrating through 50s to 60s, the variation of the sum of the picture books issued from Shanghai and the situation of book stalls and other relevant service institutions in this city, criticism to the picture book , it’s relationship with the other area of art in Shanghai at that time .
There are 5 chapters in this article. The first chapter takes a brief view at the background of the development of Shanghai picture book by analyzing the cases like that an open letter’s being issued out. The second elaborates 3 new phenomena occurred when the situation of picture book had changed: several objects were set to control the work of editing and illustrating picture book、text is asked to be wrote before illustrate、many chances available to improve the quality of art in picture book. In this chapter, many differences of style of the art work created by several artists would be illuminated. The third illuminates a map of the sum of publish of Shanghai picture book in each year through 50s to 60s in 20th century, and investigates how the book stall and community libraries carry on during the two decades. The fourth focuses on the criticism from readers of picture book, illustrates the mechanic of it and the process how the words of criticism becoming ideologically with the analysis of case studies such as the campaign“against the propaganda of《Wuxun》”and two critical articles. This chapter also explored the view point of the critics occurred recently on the picture book published in Shanghai from 1949 to 1966, and problems exist in the area of criticism at the time the business of that collection is booming. The fifth takes a comparison between the picture book and other art forms such as Print、Illustration, to discuss the relationship between the work of illustrators and art history, and how this art involved into the development of the contemporary art.
引文
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[1]2008年10月上海大学美术学院、上海美术家协会主办的“20世纪中国连环画发展研讨会”笔录
[2]2009年4月15日北京市文化局、上海文化广播影视管理局主办,北京画院和上海美术馆承办的“地球上的红飘带——沈尧伊大型长征连环画原作展”画展研讨会会议笔录
[3]2009年11月上旬上海市美术家协会《连环画史》初稿征询意见会议笔录
[4]2009年11月下旬上海人民美术出版社老连环画工作者座谈会笔录
[5]2009-2011年采访汪观清、王奕秋、庄宏安等老连环画工作者的书信资料
[6]2009年11月王奕秋住所采访笔录。
[ 1 ]中国国家图书馆特色资源电子文库中国连环画数字阅览室http://www.nlc.gov.cn
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[1]2008年10月上海大学美术学院、上海美术家协会主办的“20世纪中国连环画发展研讨会”笔录
[2]2009年4月15日北京市文化局、上海文化广播影视管理局主办,北京画院和上海美术馆承办的“地球上的红飘带——沈尧伊大型长征连环画原作展”画展研讨会会议笔录
[3]2009年11月上旬上海市美术家协会《连环画史》初稿征询意见会议笔录
[4]2009年11月下旬上海人民美术出版社老连环画工作者座谈会笔录
[5]2009-2011年采访汪观清、王奕秋、庄宏安等老连环画工作者的书信资料
[6]2009年11月王奕秋住所采访笔录。
[ 1 ]中国国家图书馆特色资源电子文库中国连环画数字阅览室http://www.nlc.gov.cn
[2]连趣网http://www.mylhh.com
[3]读图乐http://www.dutu6.com
[4]卡通之窗网http://www.cartoonwin.com
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