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关山月于1954年、1956年两赴北京,创作了二十多幅写生作品,既有城市形象,也有公园和京郊景致。同时期在北京进行写生创作的还有李可染、张仃、郭味蕖、古元等北京地区画家。他们是如何选择视觉主题的?又是如何经营画面、选择技法来实践符合新社会现实的风格?作为新都视觉形象的重要形式,绘画与摄影、电影、画报、游览图书、海报招贴上的城市视觉风景会有怎样的影响与同构?本文试图探寻一个问题,即,综合50年代北京建设的历史文献与广泛的视觉材料,来阐述艺术是如何调整其自身的观念与形态、重塑或调整其构成来匹配社会与政治的变化,“阶级”、“意识形态”、“景观”与新的视觉文化是如何在绘画上或隐或显地留下印记。
Guan Shan month in 1954, 1956, went to Beijing two, created more than twenty sketches of works, both the city image, but also the park and the suburbs of Beijing. At the same time in Beijing sketching are Li Keran, Zhang Ding, Guo Wei, Ku Yuan and other artists in Beijing. How do they choose the visual theme? How to manage the picture and choose the technique to practice the style that conforms to the new social reality? As an important form of the visual image of the capital, painting and photography, film, pictorial, excursion books, poster posters on the city What kind of influence and isomorphism will this visual landscape have? This article tries to explore a question that integrates the historical documents and extensive visual materials of Beijing in the 1950s to explain how art adjusts its own concepts and forms, It is structured to match the changes in society and politics, and how “class”, “ideology”, “landscape” and new visual culture impress or imprint on the painting.