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在“文革”体制内,国家政治话语的霸权地位是不可动摇的,大多数画家已经失去了独立的思想能力,因而包括工农兵业余作者在内的广大美术工作者不能不成为主流话语的生产者。从1972年的“纪念毛主席‘讲话’发表三十周年全国美术作品展览”以后,主流美术以“样板戏”的创作经验为指导,开始按照主流意识形态的设计,形成主流美术的话语系统。这类作品的内容大多是歌颂领袖人物的历史功绩以及文化大革命的“丰功伟绩”。按照当时组织者的说法是:“帝王将相、才子佳人和一切资产阶级的垃圾被从画面扫除了,无产阶级的英雄形象,革命的新生事物,社会主义和社会主义建设的伟大胜利是美术创作的主要内容。”红、光、亮是其鲜明的视觉特征。质言之,就是这类作品无论在题材内容,还是表现形式、表现语言上都完全服务于、服从于主流意识形态,都十分“革命化”。
Within the “Cultural Revolution” system, the hegemony of state political discourse is unshakable. Most painters have lost their ability to think independently. Therefore, the broad masses of art workers, including the amateur workers, peasants and soldiers, can not but become the producers of mainstream discourse . Since 1972, “to commemorate Chairman Mao’s speech,” the thirtieth anniversary of the publication of the National Art Exhibition “, the mainstream art to” model opera “creative experience as a guide, in accordance with the mainstream ideology of the design, the formation of mainstream art discourse system. The content of such works is mostly praised the historical achievements of the leaders as well as the ”great achievements“ of the Cultural Revolution. According to the organizers at the time, ”the monarchy, the brilliant woman and all the bourgeois trash were removed from the picture. The great victory of the heroic image of the proletariat, revolutionary new things, socialism and socialism is the creation of fine arts. The main content. “Red, light, bright is its distinctive visual features. The quality of words is that these works are completely ”revolutionized" both in the content of the subject matter and in the forms of expression and expression in terms of language, and in obedience to the mainstream ideology.