且听游音——20世纪五六十年代民主德国来华展览中的“人民性”话语

Listen to the Sounds:The"People-centered"Discourse of Exhibitions Held by German Democratic Republic in China in the 1950s and 1960s

本文以20世纪五六十年代民主德国来华展览作为考察对象,从“人民性”主题的“共振”与民主德国美术表达范式的“复调”,“反法西斯主义”政治立场的“共振”与“反法西斯主义”内在肌理的“复调”,木刻艺术“人民性”体认的“共振”与“珂勒惠支”作为民主德国“人民性”话语的象征“复调”三个视角切入,探察中国美术发展本体脉络之外“人民性”内涵的别样视线。

Based on exhibitions held by German Democratic Republic(GDR)in China in the 1950s and the 1960s,this article explores"people-centeredness"beyond its original meaning in the development of Chinese art from the following three perspectives:the"resonance"of"people-centered"theme and the"polyphony"of GDR artistic expression paradigm,the"resonance"of the political stance of"anti-fascism"and the"polyphony"of the connotation of"anti-fascism",and the"resonance"of the understanding of"people-centeredness"in woodcut and the"polyphony"of"K?the Kollwitz"as a symbol of GDR"people-centered"discourse.