解构主义视角下的苗族题材绘画创作

Miao Theme Painting Creation from the Perspective of Deconstruction

传统苗族题材绘画因其单一和惯性的审美局限,服务于宏大叙事的创作目的,使得苗族在绘画中一再地被标签化、浅层化塑造。这与苗族社区的现实割裂开来。苗族在现代化进程中所表现出的社会结构和文化的流变,以及族群内个体的生命状态,没有被艺术家充分关注。因此,亟待苗族生活世界的主体性价值在绘画表现中的回归。通过以后现代视域下“碎片化”的苗族景观为切入点,运用解构主义理论分析“碎片化”苗族景观对传统苗族题材绘画的解构,以及解构主义美学下苗族题材绘画的生成路径。进而,依据工作室实践研究的工作方法,实践用“碎片化”苗族景观创作解构主义风格绘画作品,尝试更全面地表达当下的苗族。以此呼唤苗族日常生活在审美中的价值,重构后现代审美场域下苗族、作品、观众的“整体”性,使艺术与生活的本源性关系显现。

Traditional Miao-themed paintings,due to their singular and inert aesthetic limitations,serve the purpose of grand narratives in creation,leading to the repeated labeling and superficial portrayal of the Miao in painting.This is disconnected from the reality of the Miao community.The social and cultural changes demonstrated by the Miao in the process of modernization,as well as the individual life situations within the ethnic group,have not been fully addressed by artists.Therefore,it is urgent to restore the subjectivity value of the Miao living world in painting expression.This study takes the fragmented Miao landscape under the postmodern perspective as the entry point,using the deconstruction theory to analyze the deconstruction of the"fragmented"Miao landscape on traditional Miao-themed paintings,and the generative path of Miao-themed paintings under deconstructive aesthetics.Furthermore,based on the methodology of studio practice research,practice is used to create paintings in a deconstructive style based on the"fragmented"Miao landscape to represent the current uncertain situation of the Miao.This calls for the value of Miao daily life in aesthetics,reconstructing the"wholeness"of Miao,artworks,and audience under the postmodern aesthetic field,making the fundamental relationship between art and life evident.