延安革命美术中的人民形象及其主体性建构

• 作者： 刘艳卿 ¹ 屈健 ²
• 作者单位：
  1.  西北大学艺术学院

  2.  西安美术学院
• 提交时间：2024-09-03

摘要: 延安时期，以毛泽东《在延安文艺座谈会
上的讲话》为指导，艺术家们从现实生活出发，配合
政治宣传和革命斗争需要，塑造了一批觉醒求新、勤
劳上进、爱军拥政的人民形象。以版画为主的美术作
品，通过人民“翻身做主”的身份确认完成了对人民
形象的社会主体性建构；同时，在“文艺为工农兵服
务”的思想引领下，通过图像的多维描绘，人民形象
在新政权中的文化主体性建构得以强化。由此，延安
革命美术中塑造的人民形象以一种崭新的面貌反映了
20世纪延安甚至中国社会的变革史诗、奋斗精神和文
化记忆，成为新中国“以人民为中心”的主题性美术
创作的经典范式。
 

Abstract: During the Yan’an period, with Mao Zedong’s “Talks at the Yan’an
Forum on Literature and Art” as the guideline, artists started from real life, in line with
revolutionary needs and political propaganda, and created a group of people who are awake
and innovative, industrious and aspirant, patriotic and supportive of the army. The art works
with printmaking as the main body completed the social subjectivity construction of the
image of the people through the confirmation of the identity of the people “standing up
and being the master”. At the same time, under the guidance of the idea of “literature and
art serve workers, peasants and soldiers”, the cultural subjectivity construction of people’s
images in the new regime was strengthened through multi-dimensional depiction of images.
Therefore, the image of the people shaped in the Yan’an revolutionary art reflects the reform
epic, fighting spirit and cultural memory of Yan’an and even Chinese society in the 20th
century, and has become the classic paradigm of “people-centered” thematic art creation in
the People’s Republic of China

• 分类： 艺术学 >> 美术与书法
• 稿件状态： 已在期刊出版
期刊名称： 《当代美术家》 2022年 第6期
• 引用： PSSXiv:202409.00416 (或此版本 PSSXiv:202409.00416V1)
  DOI:10.12451/202409.00416
  CSTR:32012.36.PSSXiv.202409.00416
• 推荐引用方式： 刘艳卿,屈健.延安革命美术中的人民形象及其主体性建构.当代美术家,2022(6).[PSSXiv:202409.00416V1] (点此复制)