农民画属性问题谫论:20世纪五六十年代农民画运动之考察

On the Attribute of Peasant Painting:Based on the Investigation of Peasant Painting Movement in the 1950s and 1960s

农民画是在社会主义政治体制和文化体制下发展起来的独特艺术样式,从其兴起之时,它的艺术属性就受到关注。农民画与其他民间文艺门类一样,随着新的国家话语与社会主义多民族文艺的形成与重构,逐步兴起并在全国范围内迅速发展,艺术创作者和理论家亦参与其中,“民间艺人”与“画家”的阈限被打破。农民画兴起于特殊的历史情境,其本身具有显著的意识形态特征,而其文字与图像相结合的“诗画合璧”之叙事方式亦属于口传叙事的传统。通过对20世纪五六十年代农民画的源起、发展以及艺术特性的考察,从其属性而言,农民画属于“亚民间文化”即民间文化范畴。

Peasant painting is a unique artistic style developed under the socialist political and cultural system. Since its rise,its artistic attributes have attracted much attention. Like other folk literary and artistic categories,with the formation and reconstruction of new national discourse and socialist multi-ethnic literature and art,peasant painting has gradually risen and developed rapidly throughout the country. Artists and theorists have also participated in it,and the threshold of“folk artists”and“painters”has been broken. Peasant paintings emerge from the special historical situation and have remarkable ideological characteristics. The narrative mode of“combination of poetry and painting”,which combines words and images,also belongs to the tradition of oral narration. Through the investigation of the origin,development and artistic characteristics of farmer paintings in the 1950s and 1960s,it can be concluded that farmer paintings belong to the category of "sub-folk culture",that is,folk culture.