文革后中国当代绘画中毛泽东形象分析
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摘要
改革开放以来,艺术界的文艺思想也由文革时期的强大的政治背景束缚下逐渐变得开放,在这样一个相对开放的意识形态下,中国当代艺术中出现大量的描绘毛泽东形象的作品。而在这些作品中我们不难发现,传统的对政治领袖的神圣,庄严的描绘,以及顶礼膜拜式的崇敬变成了另外一番景象。随着中国前卫艺术、尤其是“政治波普”的兴起,毛泽东的形象更带有一种符号化的特征,其中也出现了一些在部分观众看来是不甚敬意的倾向,本文就当代艺术对毛泽东这一形象的阐述展开分析以及由此引发的启示。
Since reform and opening up, Mei Shujie artistic ideas from the Cultural Revolution period of strong political background under the shackles of gradually become open. In such a relatively liberal ideology, the Chinese contemporary art in a large number of works depicting the image of Mao Zedong. In these works, we can easily find, the traditional political leaders of the sacred, solemn painted, and pay homage to the respect of the other into a scene. As China's avant-garde art, especially the "political Pope," the rise of Mao Zedong's image with a symbol of the features, some of which have appeared in some of the audience appeared to be less inclined to pay tribute to. This article on contemporary art Mao Zedong launched on the image of the analysis, and thus trigger inspiration.
Since reform and opening up, Mei Shujie artistic ideas from the Cultural Revolution period of strong political background under the shackles of gradually become open. In such a relatively liberal ideology, the Chinese contemporary art in a large number of works depicting the image of Mao Zedong. In these works, we can easily find, the traditional political leaders of the sacred, solemn painted, and pay homage to the respect of the other into a scene. As China's avant-garde art, especially the "political Pope," the rise of Mao Zedong's image with a symbol of the features, some of which have appeared in some of the audience appeared to be less inclined to pay tribute to. This article on contemporary art Mao Zedong launched on the image of the analysis, and thus trigger inspiration.
引文
[2]此处引自高名潞,《中国前卫艺术》一书42-43页。
[3]此处引自孙津的《波普艺术—断层与绵延》第58页。
[4]此处参考孙津的《波普艺术—断层与绵延》第100页。
[5]此处引自孙津的《波普艺术—断层与绵延》第96页。
[6]此处参考高名潞的《中国前卫艺术》194-195页。
[7]此处引用孙津的《波普艺术—断层与绵延》192-193页。
孙津,《波普艺术—断层与绵延》,长春:吉林美术出版社,1999年。
高名潞,《中国前卫艺术》,南京:江苏美术出版社,1997年。
易英,《学院的黄昏》,长沙:湖南美术出版社,2001年。
朱其,《新艺术史与视觉叙事》,长沙:湖南美术出版社,2003年。
孙振华,鲁虹主编,《艺术与社会—26位著名批评家谈中国当代艺术的转向》,长沙:湖南美术出版社,2005年。
鲁虹,《为什么要重新洗牌》,长沙:湖南美术出版社,2003年。
贾方舟主编,《批评的时代—20世纪末中国美术批评文萃》,南宁:广西美术出版社,2003年。
[3]此处引自孙津的《波普艺术—断层与绵延》第58页。
[4]此处参考孙津的《波普艺术—断层与绵延》第100页。
[5]此处引自孙津的《波普艺术—断层与绵延》第96页。
[6]此处参考高名潞的《中国前卫艺术》194-195页。
[7]此处引用孙津的《波普艺术—断层与绵延》192-193页。
孙津,《波普艺术—断层与绵延》,长春:吉林美术出版社,1999年。
高名潞,《中国前卫艺术》,南京:江苏美术出版社,1997年。
易英,《学院的黄昏》,长沙:湖南美术出版社,2001年。
朱其,《新艺术史与视觉叙事》,长沙:湖南美术出版社,2003年。
孙振华,鲁虹主编,《艺术与社会—26位著名批评家谈中国当代艺术的转向》,长沙:湖南美术出版社,2005年。
鲁虹,《为什么要重新洗牌》,长沙:湖南美术出版社,2003年。
贾方舟主编,《批评的时代—20世纪末中国美术批评文萃》,南宁:广西美术出版社,2003年。