1949-1976年中国政治宣传海报研究
摘要
海报又称招贴画、宣传画,英文名字是poster。是一种以宣传鼓动、制造社会舆论和气氛为目的的绘画,一般带有醒目的、号召性的、激情的文字标题。海报是广告的一种表现形式,也是最早的表现形式。1450年德国人古登堡在木刻板印刷的基础上研制成了活版印刷,海报作为向大众传播的媒介向前迈出了一大步。海报的特点是形象醒目、主题突出、风格明快、富有感召力。在国外,海报被视为“瞬间的街头艺术”。可以说海报在某种程度上反映了一个国家的经济发展状况、文化素养水平等等。
政治海报是属于社会性质的,是政府政策和法律的有效传播媒介,各个政治团体也经常通过海报的方式反映大众所关注的社会问题和政治观点,如政府宣传画、政治选举、政党活动等。它不仅仅是政府面向大众的传播媒介,更有特殊的内涵在里面,它有着别具一格的设计风格,可以深层次的反映一个国家的社会文化根源。政治海报的鼎盛时期是在20世纪的时候,从某种意义上来讲这是一个政治宣传的世纪。在那个战争的特殊时期,由于鼓舞士气、筹集资金、招募人员、促进生产、节约资源的巨大任务和需要,海报可以说是诉求大众的最直接有效媒介,各个国家政权都意识到海报的宣传作用,纷纷利用它来达到宣传的目的。在两次的世界大战、苏联的革命与建设、西班牙内战期间更是政治海报创作的高峰期,尤其在二十世纪前五十年,是宣传海报大行其道的黄金时代。在十月革命胜利后不久的苏俄,首都莫斯科市中心邮电局的橱窗里贴满了政治海报,以便市民从这些不同表现形式的海报中了解革命形势。中国此时也出现了一大批政治海报,在抗日战争时期成为了强有力的宣传工具,期间有强烈民族正义感和爱国心的画家积极的进行创作,比如：古元、华君武、李桦等,为鼓舞人心,激励民众奋勇抗敌起到了不可忽视的作用。建国后的一些政治海报,尤其是“文革”时期的作品在很大程度上影响了之后中国的艺术创作。总之,这些政治海报都成为了海报史上无法忽略的重要部分。
本文主要是对中国1949年到1976年的政治宣传海报进行分析,讲述了它的产生、发展和变化过程,并从艺术的角度对各个时期的代表作品进行了分析研究,便于观者更为迅捷、全面的掌握那段特殊时期特定艺术的魅力。
Poster is a kind of drawing for the purpose of propagandizing as well as creating public opinions and atmosphere, generally with eye-catching, inspiring and passionate titles. It is the earliest form of advertising. In the year of 1450, Gutenberg, a German, developed letterpress on the base of woodcut plates printing. The poster, as a medium of communication with the public, made a big step forward. The characteristics of posters are:eye-catching, full of appealing, with prominent styles and themes. Overseas, posters are considered as "instant street arts." Posters in part can be seen as reflections of the level of a country's economic and cultural development etc.
Political posters, which are social in nature, are effective media to spread government policies and laws. Various political groups often adopt posters to reflect public concerns and political views as well as social problems on the occasions of government propaganda, political elections and political party activities etc. They are not only media to the public for government, but also with special meanings. They have unique styles that can reflect a country's social and cultural roots in depth. The heyday of political posters was in the 20thcentury, which can be regarded as a century of political advocacy. During that special period of the war, posters were the most direct and effective communicating media to the public due to the needs of boosting morale, raising funds, recruiting personnel, promoting productions and conserving resources. And all of the state powers became aware of the publicity functions of posters and used them for propagandizing purposes. Periods of two world wars, the Soviet revolution and construction and the Spanish Civil War were the peaks of political posters, especially the first five years of the twentieth century which were the golden ages of popular posters. Shortly after the victory of the October Revolution in Russia, post offices in central Moscow plastered with political posters in windows for the public to learn about there volutionary situation from these different forms of posters. At that time there had also been a large number of Chinese political posters which became powerful propaganda tools during the Sino-Japanese War during which appeared some artists with strong national senses of justice and patriotism, such as: Gu Yuan, Hua Junwu, Li Hua etc. Their actively created works played a significant role in inspiring and motivating people to fight against the enemy. Political posters created after the founding of new China especially those created during the period of "Cultural Revolution" largely influenced the Chinese art in the later. To sum up, these political posters have become an important part which can not be ignored in the history of posters. This thesis analyzes Chinese political propaganda posters during 1949 to 1976, describes the process of their origins, development and changes as well as studies works in each period from an artistic point of view to facilitate readers acquire special charms of those works in that particular period of time in a more rapid and comprehensive way.
政治海报是属于社会性质的,是政府政策和法律的有效传播媒介,各个政治团体也经常通过海报的方式反映大众所关注的社会问题和政治观点,如政府宣传画、政治选举、政党活动等。它不仅仅是政府面向大众的传播媒介,更有特殊的内涵在里面,它有着别具一格的设计风格,可以深层次的反映一个国家的社会文化根源。政治海报的鼎盛时期是在20世纪的时候,从某种意义上来讲这是一个政治宣传的世纪。在那个战争的特殊时期,由于鼓舞士气、筹集资金、招募人员、促进生产、节约资源的巨大任务和需要,海报可以说是诉求大众的最直接有效媒介,各个国家政权都意识到海报的宣传作用,纷纷利用它来达到宣传的目的。在两次的世界大战、苏联的革命与建设、西班牙内战期间更是政治海报创作的高峰期,尤其在二十世纪前五十年,是宣传海报大行其道的黄金时代。在十月革命胜利后不久的苏俄,首都莫斯科市中心邮电局的橱窗里贴满了政治海报,以便市民从这些不同表现形式的海报中了解革命形势。中国此时也出现了一大批政治海报,在抗日战争时期成为了强有力的宣传工具,期间有强烈民族正义感和爱国心的画家积极的进行创作,比如：古元、华君武、李桦等,为鼓舞人心,激励民众奋勇抗敌起到了不可忽视的作用。建国后的一些政治海报,尤其是“文革”时期的作品在很大程度上影响了之后中国的艺术创作。总之,这些政治海报都成为了海报史上无法忽略的重要部分。
本文主要是对中国1949年到1976年的政治宣传海报进行分析,讲述了它的产生、发展和变化过程,并从艺术的角度对各个时期的代表作品进行了分析研究,便于观者更为迅捷、全面的掌握那段特殊时期特定艺术的魅力。
Poster is a kind of drawing for the purpose of propagandizing as well as creating public opinions and atmosphere, generally with eye-catching, inspiring and passionate titles. It is the earliest form of advertising. In the year of 1450, Gutenberg, a German, developed letterpress on the base of woodcut plates printing. The poster, as a medium of communication with the public, made a big step forward. The characteristics of posters are:eye-catching, full of appealing, with prominent styles and themes. Overseas, posters are considered as "instant street arts." Posters in part can be seen as reflections of the level of a country's economic and cultural development etc.
Political posters, which are social in nature, are effective media to spread government policies and laws. Various political groups often adopt posters to reflect public concerns and political views as well as social problems on the occasions of government propaganda, political elections and political party activities etc. They are not only media to the public for government, but also with special meanings. They have unique styles that can reflect a country's social and cultural roots in depth. The heyday of political posters was in the 20thcentury, which can be regarded as a century of political advocacy. During that special period of the war, posters were the most direct and effective communicating media to the public due to the needs of boosting morale, raising funds, recruiting personnel, promoting productions and conserving resources. And all of the state powers became aware of the publicity functions of posters and used them for propagandizing purposes. Periods of two world wars, the Soviet revolution and construction and the Spanish Civil War were the peaks of political posters, especially the first five years of the twentieth century which were the golden ages of popular posters. Shortly after the victory of the October Revolution in Russia, post offices in central Moscow plastered with political posters in windows for the public to learn about there volutionary situation from these different forms of posters. At that time there had also been a large number of Chinese political posters which became powerful propaganda tools during the Sino-Japanese War during which appeared some artists with strong national senses of justice and patriotism, such as: Gu Yuan, Hua Junwu, Li Hua etc. Their actively created works played a significant role in inspiring and motivating people to fight against the enemy. Political posters created after the founding of new China especially those created during the period of "Cultural Revolution" largely influenced the Chinese art in the later. To sum up, these political posters have become an important part which can not be ignored in the history of posters. This thesis analyzes Chinese political propaganda posters during 1949 to 1976, describes the process of their origins, development and changes as well as studies works in each period from an artistic point of view to facilitate readers acquire special charms of those works in that particular period of time in a more rapid and comprehensive way.
引文
1 向雪《现代招贴设计教程》西南师范大学出版社2007.05 p3
2 王受之《世界现代平面设计史》新世纪出版社1998 p101
3 黄可 《中国新民主主义革命美术活动史话》 上海书画出版社2006.12 P9
4 黄可《中国新民主主义革命美术活动史话》上海书画出版社2006.12 p10
5 郭渝慧《中国早期现代招贴绪论》中国知网P27
6 黄宗贤《抗日战争美术图史》湖南美术出版社2005.7 P27
7 黄宗贤《抗日战争美术图史》湖南美术出版社2005.7 P29
8 指第一届、第二届“全国抗战美展”武汉1938.7
9 何其芳《改造自己,改造艺术》《解放时报》延安1943.4.3
10 参见陈履生《新中国美术图史(1949-1966)》中国青年出版社2000年版p4
11 晓地《“文革”之谜》[M]朝华出版社1993 p3
12 参见《人民日报》1967年5月29日第1版
13 参见《人民日报》评论员文章《团结一切可以团结的力量打击阶级敌人》1969年2月8日第1版
14 郑启幕《繁荣社会主义文艺的根本保证——试论十一届三中全会以来党的文艺政策的调整和发展》吉林师范大学学报(人文社会科学版) 1986年第4期
15 杨凤城,张永英《评建国到“文革”前的“文化大革命”》 [J]当代中国史研究2000 p35
16 高有鹏《关于“文革”时期的民间文学问题》 中国现代当代文学研究1999 p67
18 周恩来《周恩来论文艺》人民文学出版社1979年p215
19 吴风《艺术符号美学——苏珊·朗格美学思想研究》北京广播学院出版社2002 p97
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2 王受之《世界现代平面设计史》新世纪出版社1998 p101
3 黄可 《中国新民主主义革命美术活动史话》 上海书画出版社2006.12 P9
4 黄可《中国新民主主义革命美术活动史话》上海书画出版社2006.12 p10
5 郭渝慧《中国早期现代招贴绪论》中国知网P27
6 黄宗贤《抗日战争美术图史》湖南美术出版社2005.7 P27
7 黄宗贤《抗日战争美术图史》湖南美术出版社2005.7 P29
8 指第一届、第二届“全国抗战美展”武汉1938.7
9 何其芳《改造自己,改造艺术》《解放时报》延安1943.4.3
10 参见陈履生《新中国美术图史(1949-1966)》中国青年出版社2000年版p4
11 晓地《“文革”之谜》[M]朝华出版社1993 p3
12 参见《人民日报》1967年5月29日第1版
13 参见《人民日报》评论员文章《团结一切可以团结的力量打击阶级敌人》1969年2月8日第1版
14 郑启幕《繁荣社会主义文艺的根本保证——试论十一届三中全会以来党的文艺政策的调整和发展》吉林师范大学学报(人文社会科学版) 1986年第4期
15 杨凤城,张永英《评建国到“文革”前的“文化大革命”》 [J]当代中国史研究2000 p35
16 高有鹏《关于“文革”时期的民间文学问题》 中国现代当代文学研究1999 p67
18 周恩来《周恩来论文艺》人民文学出版社1979年p215
19 吴风《艺术符号美学——苏珊·朗格美学思想研究》北京广播学院出版社2002 p97
[1]向雪,《现代招贴设计教程》,西南师范大学出版社,2007.05
[2]王受之,《世界现代平面设计史》,新世纪出版社,1998
[3]黄可,《中国新民主主义革命美术活动史话》,上海书画出版社,2006.12
[4]郭渝慧,《中国早期现代招贴绪论》,中国知网
[5]黄宗贤,《抗日战争美术图史》,湖南美术出版社,2005.7
[6]陈履生,《新中国美术图史(1949-1966)》,中国青年出版社2000年版
[7]晓地,《“文革”之谜》[M],朝华出版社
[8]《人民日报》,1967年5月29日第1版
[9]《人民日报》,评论员文章《团结一切可以团结的力量打击阶级敌人》,1969年2月8日第1版
[10]郑启幕,《繁荣社会主义文艺的根本保证——试论十一届三中全会以来党的文艺政策的调整和发展》,吉林师范大学学报(人文社会科学版),1986年第4期
[11]杨凤城、张永英,《评建国到“文革”前的“文化大革命”》[J],当代中国史研究,2000
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