伪满洲国广告画的创作群体与作品风格

On the Creative Groups and Styles of Pseudo Manchukuo Advertising Paintings

在伪满洲国时期,广告画是当时宣传的重要手段。在当时其他媒介不发达的条件下,广告画都被作为重要的宣传武器得到充分利用,宣传效果不言而喻。伪满政府和抗战军民双方作为不同政治立场的宣传画创作群体,在压迫与被压迫的背景下创作风格大相径庭。对伪满洲国广告画创作背景与状况进行研究,有利于了解广告画的基本概貌;分析伪满时期广告画的创作群体,可以正反两方面对比伪满政府广告画和抗战宣传画的创作群体、创作个人,得出二者的服务对象、概貌和风格存在的差异;分析伪满时期广告画代表作风格,可以正反两方面对比伪满政府广告画和抗战宣传画的代表作内容及风格,得出二者的画面内容、视觉形式的差异化特点,在造型特征和精神内涵上形成鲜明的对比,进而体现出伪满政府广告画的殖民统治本质和抗战宣传画爱国抗争精神。

In the period of pseudo Manchukuo,advertisement painting was an important means of political propaganda at that time.In the period of Anti Japanese War,propaganda pictures were also fully used as an important propaganda weapon.Different political positions of the propaganda painting creative groups,in the context of oppression and oppression of the creative style are very different.This study introduces the background and creation of pseudo Manchukuo advertising posters.At that time,the advertising media was completely occupied by Manchuria government.Most of the contents of the advertisements in the major newspapers and magazines are political advertisements of the Puppet Manchurian government and advertisements of the daily shops.Then it introduces the representative creative groups and individuals in the period of pseudo Manchukuo and the period of northeast Anti Japanese war.Finally,it analyzes the content and style of the propaganda paintings in the period of pseudo Manchukuo,and the connotation and style of propaganda paintings in the period of northeast Anti Japanese war.The political hypocrisy posters of the Japanese puppet government are in sharp contrast with the folk painstaking posters described by the realistic style of the Anti Japanese people.