傅抱石“毛澤東詩意畫”創作之研究

作爲一種特定題材，肇始於1950年代的毛澤東詩意畫是在日益政治化的社會現實中，使中國畫作品能夠順利獲得主流社會認可的一個重要媒介，反映了20世紀下半葉中國的社會政治結構和文化生活的變化，呈現出一種特定的風格趣味和思想觀念；毛澤東詩意畫還是中國畫家在特殊時代進行中國畫改革與發展的重要突破口之一，反映了一代畫家在特殊的政治文化、社會環境下所做出種種努力，揭示出中國畫在政治至上、階級至上的歷史條件下謀生存、求發展的艱難歷程。在這一歷史進程中，傅抱石是一個重要的代表，他從毛澤東詩詞中找到發展的契機，突破傳統題材的束縛，不失爲在逆境中實現自我保護而使自己的藝術生命得以延續的有效方式；而在繪畫技法上探索新技法與新題材的結合途徑，並憑著自己的可喜成績，爲那些在題材選擇面前手足無措、技巧表現面前猶豫徘徊的畫家們作出了榜樣。本文以傅抱石的毛澤東詩意畫爲例，通過勾勒其毛澤東詩意畫創作的發展軌跡和基本面貌，分析他在20世紀五、六十年代爲中國畫發展所做的探索，追索其在20世紀中期中國畫發展史上的獨特意義。

關鍵字

傅抱石；毛澤東詩詞；毛澤東詩意畫；創作；研究

並列摘要

As a kind of particular subject matter, poetic painting of Mao Zedong, started in 1950 times, is an important media which make traditional Chinese painting work be able to access to the mainstream society, has reflected the change of political structure and the cultural life in politicized social reality. Moreover, Mao Zedong's poetic painting is regarded as one of the innovations of the reform and development of Chinese painting in special era by Chinese painter. It revealed Chinese painting's rough course for existing and developing under the history condition of paramount politic and class while reflected a generation painter's varied efforts under the peculiar politics culture and social environment. Evidently, Fu Baoshi played an important role in such historic progress. He found the chance in Mao Zedong's poem word and broke traditional subject matter, which was a available method to achieve self-protection and continue his own artistic heart. He studied approach that can combine new skills and new subjects, achieving great success, which pointed a way for young artists. In this paper, taking Fu Baoshi's Mao Zedong poetic draws as example, I intend to analyze his exploration for development of Chinese painting in the fifties and sixties of the 20th century, to pursue the unique meaning on the development of Chinese painting history in the Middle period of the 20th century.

並列關鍵字

Fu Baoshi ； Mao Zedong poetry word ； Mao Zedong's poetic painting production ； Study

國際替代計量

傅抱石“毛澤東詩意畫”創作之研究

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