泥塑《收租院》自从1965年在社会主义教育运动中应运而生,直至1979年以前,她一直是中国大陆最富影响力的革命现实主义雕塑代表作。然而,进入新时期以后,由于党和国家纠正了“以阶级斗争为纲”的错误方针,开始以经济建设为中心,《收租院》便转而被人冷落与淡忘。出人意料的是,到了20世纪九十年代初,一种《收租院》旅游观光热悄然兴起,而且至今不衰。这种新兴民间观赏热与极左年代的公众观赏热有何分别?本文作者通过实地考察认为:在经历了新时期的社会变革之后,人们对泥塑《收租院》的观赏兴趣发生了根本变化,它再也不像在以阶级斗争为纲的年代里那样,激起人们狂热的阶级仇恨,而是让参观者以一种平和的心态回味历史,珍视艺术价值,呈现出因人而异的欣赏兴趣。 Since its founding in 1965 in the Socialist Education Movement, clay sculpture “Rent Court” has been the most influential revolutionary realist sculpture representative in mainland China until 1979. However, after the new period began, the Party and the state rectified the erroneous principle of “taking the class struggle as the key link” and started to take economic construction as the center. However, the “rent-collection court” turned out to be neglected and forgotten. Surprisingly, by the early 1990s, a kind of “rental housing” tourism and sightseeing heat quietly rising, and so far not bad. What is the difference between this emerging folk ornamentation and the popular ornamentation in the extreme left? According to the field investigation, the author of this article thinks: After experiencing the social change in the new period, people’s fundamental interest in the ornamental interest of the clay sculpture " , It no longer arouses people’s fanatical hatred of class as in the era of class struggle. Instead, it gives the visitors a memorable attitude to the history, cherishes the artistic value, and presents individual differences Appreciate the interest