建国后的前三十年我国水彩画发展状况考证

摘要

As an art mported from the West, watercolor has had its rises and falls in China. In the first three decades of PRC, painting of watercolor and its theoretical research are all closely related to the dominant political ideology. Before the Great Cultural Revolution, it has undergone a period of steady development:under the the policy of nationalization of fine arts, a new style has been established; besides, the birth of Chinese National Artists' Association, the foundation of many academies of arts, and the publishment of books in the field have greatly boosted the development, dissemination and education of watercolor. Yet,after that, it has come to a halt: what is left are only sterotyped, revolutionary visual visual icons and symbols with the purpose of a forced unity of all Chinese fine arts (watercolor included) by means of ideological manipulation. What is more, imported from the West, watercolor has been supposed to be a kind of capitalist art form and criticized as bourgeois sentiments, hence it has suffered great setbacks. This paper makes a summary of the development of Chinese wa-tercolor in the first three decades of PRC on the basis of textual research and analysis of political status in the respective periods.%水彩画作为一个外来画种，其在我国的发展可谓一波三折。在建国后的前三十年中，水彩画无论是在创作还是在理论方面，都与当时的政治方向紧密相连。从建国开始到文革之前，水彩画有着相对稳定的发展，美术民族化的艺术观使得水彩画进一步确立了其风格；美术家协会、美术专业学校的建立，以及相关研究专著的出版，对水彩画的传播和教育起到了巨大的作用。但是时至文革，一切发展戛然而止，取而代之的是程式化、革命化的视觉符号，目的是在意识形态上对包括水彩在内的一切中国美术形式进行强制性的统一。同时，由于水彩画是由西方传入中国，属于资本主义的美术形态，又被认为是具有小资情调的画种而被列为批判的对象，使其遭受到了巨大的打击。本文从史学的角度，结合当时中国的政治情况，对建国后前三十年的水彩画发展状况做一些考证。