1950年代的邳县农民壁画运动述论

Discussion on Pixian Peasant Mural Movements in 1950

1950年代江苏邳县的农民壁画运动与国家意识形态向乡村的弥散有着极深的关联,实质上是在外驱力主导下、以配合政治宣传的一种乡村绘画运动。邳县农民壁画能够获得全国艺术界的认可,得益于知识者对之的"共产主义艺术的萌芽"的营构和其反复性的"展演"。虽然文艺界对"共产主义艺术的萌芽"的解读相对较少,但将之与农民文艺主人的关联,却在客观上建构起了农民的文化翻身,更新了他们的文化形象。问题在于,由于壁画与政治的过分亲近,导致了它的意识形态宣传色彩过浓,妨碍了农民的文艺主人意涵。

The peasant mural movements in Pixian, Jiangsu Province in 1950 had a extremely close combination with state ideology that spread to countryside, which in fact is a country painting movements that under the dominance of extrinsic driving power coordinates political propaganda. Pixian peasant mural could be accepted by nationwide art circle which benefited from the group of knowledge responded nutrient structure to the embryos in communism art and its repeat ＂exhibition＂. Although literal and art circle had less interpretation about embryos in communism art, which built culture turn - over of peasant objectively a problem that because mural closed to policy overly propaganda and interfered the peasant literal and art it is connected with peasant literal and art master, and updated their cultural image. However, there is that lead to that it is contained the excessive ideology master connotation.