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中国当代先锋艺术在表现家庭主题时,往往采用“全家福”的构图方式。尤其在20世纪90年代,“三口之家”的中国式标准家庭构图(孩子居中,父母两边)出现在先锋美术、观念摄影、电影海报等平面艺术领域。本文细读张晓刚的《血缘:大家庭》、王劲松的《标准家庭》、杨振忠的《全家福》和张杨导演的《向日葵》电影海报等艺术作品,详细分析其中的“全家福”构图方式,并探讨作品对于计划生育政策导致的“三口之家”的当代标准中国家庭的再现。本文也借中国先锋艺术对当代独生子女和赡养老人等社会问题窥豹一斑。
Contemporary Chinese avant-garde art in the performance of the theme of the family, often using “family portrait ” composition. Especially in the 1990s, the Chinese-style standard family composition (centered on children and parents) appeared in the field of graphic art such as avant-garde art, concept photography and movie posters. This article examines Zhang Xiaogang’s “Blood Family: The Great Family”, Wang Jinsong’s “Standard Family”, Yang Zhenzhong’s “Family Portrait” and Zhang Yang’s “Sunflower” movie posters and other works of art, a detailed analysis of the “Family Portrait” composition and Exploring the Reproduction of Contemporary Family Standards for the “Three-Family” Caused by Family Planning Policy. This article also borrows from the vanguard arts of China to see the immediate social issues such as contemporary single children and supporting the elderly.