摘要
1960年,在新国画运动展开的背景下,江苏省国画院“二万三千里”写生活动,直接催生出一批表现长江三峡的著名山水作品。三峡的形象自此一改画史上的寂寥,成为美术创作的重要题材。统一行动的集体旅行,促进了画院画家身份的认同和集体的规训,画家们在集体主义文化中完成了自我的形塑,并外化为视觉图像,促成新的图式风格。本文通过具体分析此行中三峡视觉经验的更新,力图追溯集体旅行这一特定语境下“集体观看”的社会属性,并重新审视“观看”的产出——三峡画卷的图式、主题、审美的变迁,力求探索视觉形象创造中感性经验和社会历史之间的内在关系。
Against the background of the new Chinese painting movement,the"twenty-three thousand miles"sketching journey carried out by Jiangsu Traditional Chinese Painting Institute promoted the creation of a number of famous landscape paintings that depicted the Three Gorges.It was no longer a rare theme in painting history,and has become an important subject in artistic creation ever since.This group travel strengthened artists'awareness of identity as painters and their understanding of rules.They improved themselves in this group activity,a process that was externalized into visual images and helped generate new painting styles.This article analyzes social characteristics of"group viewing"on the basis of new visual experience regarding the Three Gorges in this activity,reexamines the products of"viewing"-changes in schema,themes and aesthetics of the Three Gorges-themed paintings,and tries to explore the relationship between personal experience and social history in creating visual images.
作者
陈晶
Chen Jing(Hubei Institute of Fine Arts)
出处
《美术》
北大核心
2024年第9期92-101,共10页
Art Magazine
关键词
集体旅行
集体观看
国画写生
三峡图像
group travel
group viewing
Chinese painting sketching
the Three Gorges-themed paintings