简述中国四九年以来乡土题材绘画的发展

沈阳师范大学

硕士学位论文

简述中国四九年以来乡土题材绘画的发展

姓名：肖雨

申请学位级别：硕士

专业：美术学

指导教师：***

20100301

简述中国四九年以来乡土题材绘画的发展

中文摘要

我国作为农业大国，“乡土”是不可或缺的。而以乡土为题材的艺术作品更应该是我国艺术中的浓重一笔。历史在向工业时代迈进之前，“乡土艺术”是没有任何参照的。只有在两种文明的激烈冲突中，乡土艺术才具有了独特的意义。在乡土绘画的世界性发展中，现代意义上的中国乡土绘画经历了一个从萌芽、繁盛、蜕变、断裂、复归到再度新变的复杂而曲折的递嬗过程。随着乡土绘画在发展中对自身美学形态的逐渐确立，相应的理论认识也逐渐由混沌变得清晰、丰富和复杂。就在这个过程之中，中国的“乡土艺术”及其理论应运而生。但目前的乡土绘画理论仍然很零乱，相对于中国乡土绘画这一巨大现实应该说是滞后的。

本论文对1949年以后的“乡土艺术”整理，总结，简述四九年以来乡土题材的绘画艺术的发展。把中国现代乡土绘画理论零散、混杂这一现状提出来的。大多数乡土绘画理论是从现实主义的视角来关注乡土绘画的，甚至有一种误解，以为乡土绘画就是现实主义创作方法的专利权者。这种理论是无法解释美术史上的许多乡土绘画现象的。因而对于重新审视“乡土艺术”是十分重要的。

论文通过对一九四九年以来中国乡土绘画理论的收集、归纳和整理，使中国的乡土绘画呈现出一个清晰的脉络。应该说，我的论文是符合社会需要的，是值得研究的，也是具有现实意义的。虽然不算完整而精准，但确是本人劳力之总结，辛苦之概括，自身之观点。

“乡土艺术”的作品，不断出现，在我瞻仰那些独具魅力，有着鲜明特色，饱含对“乡土”情怀的作品的时候，内心对于“乡土艺术”的情怀不在沉寂。在学习中，也感觉到“乡土艺术”理论没有一个完整的叙述。而在自己不断关注“乡土艺术”，不断接触“乡土艺术”的时候，对“乡土艺术”的理论却清晰起来，有了写这一论文的想法。

关键词：乡土，乡土艺术，题材，绘画

Paragraphs China in 1949 since the themes of country

Abstract

China is a large agricultural country, "local" is indispensable. The thought that the theme of local works of art should be in the thick of China's art of a. History before moving to the industrial age, "local art" has no reference. Only in the fierce conflict of two civilizations, the local art only has a unique meaning. Painting in the Native world development, the modern sense, China has experienced a local painting from the sprout, flourish, transformation, fracture, once again reverted to the new changes in the complex and tortuous-filled history of the process. With the Local Painting in the development of its own aesthetic form of the gradual establishment of

The corresponding theoretical understanding gradually from the chaos became clear, rich and complex. It was at this process, China's "native art" and its theory came into being. However, the current theory of local art is still very messy, compared to local Chinese painting should be said that this great reality lagged behind.

In this paper, since 1949's "native art" organize, summarize, briefly in 2049 and since the local theme watercolor painting development. Local theory of modern Chinese paintings scattered, mixed this situation put forward. Most local painting theory from the perspective of realism, attention to local art, and even there is a misconception that native art is the creation methods of realistic franchise. This theory can not explain the many local art history painting phenomenon. And therefore for the re-examine "local art" is very important.

Paper in China since 1949 through the theory of local art collection, summarize and organize, so that China's local painting showing a clear context. It should be said, my thesis is in line with the needs of society, is worth studying, but also has practical significance. Although not complete and accurate, but the conclusion is indeed my labor, hard work of the summary of the ideas themselves.

"Native art" works, emerging, in my pay their last respects to those charming, have distinct characteristics, full of the "native" works of