【摘要】：中國的招貼藝術(shù)幾乎是與中國近現(xiàn)代的歷史同步的,每一個時代的特點,從民國革命時期將年畫與招貼相結(jié)合的“月份牌”藝術(shù),到抗戰(zhàn)時期的“抗戰(zhàn)年畫”“抗戰(zhàn)宣傳畫”再到建國初期“除四舊”“優(yōu)生優(yōu)育”的宣傳畫以及改革開放時期的各種招貼廣告,港澳回歸時期的各種宣傳畫,奧運會和世博會時期的各種招貼畫,無不忠實體現(xiàn)了中國各個歷史時期的特點,記錄了中國每一個歷史階段的點滴。民國初期更是出現(xiàn)了大量具有招貼性質(zhì)的改良年畫。在審美特征上以中國傳統(tǒng)的民間藝術(shù)的審美特征為主�！霸路菖啤笔窃诿駠鴷r期具有商業(yè)招貼性質(zhì)的藝術(shù)形式。受到了西方藝術(shù)特別是油畫技法的影響。建國前期,招貼廣告是以革命宣傳畫的形式呈現(xiàn)在歷史舞臺上的,木刻版畫招貼是其中比較有代表性的作品。大多線條粗獷豪放,具有剛健質(zhì)樸的風(fēng)格。建國以后無論是新中國成立、抗美援朝時期、大躍進時期還是文化大革命時期,政治宣傳畫以絕對優(yōu)勢幾乎壟斷了招貼藝術(shù)的所有題材。其色彩豐富鮮明,構(gòu)圖飽滿,招貼中這種昂揚的活力和熱情被發(fā)揮到了極致。大躍進時期,招貼畫中所表現(xiàn)的革命激情演化成了一種荒誕的表達方式。這個時期的作品以夸張為寫實。而到了文化大革命時期,招貼畫在色彩上呈現(xiàn)出一種病態(tài)的濃烈。中國的招貼藝術(shù)政治獲得長足發(fā)展的時期是改革開放以后,八十年代中國招貼廣告以宣揚新思潮為主,商業(yè)招貼為輔,在表現(xiàn)技法上開始不再局限于寫實的表現(xiàn)手法,開始嘗試使用抽象的技法表現(xiàn)藝術(shù)效果,開始滲透出生活和個人的色彩。九十年代中國招貼藝術(shù)發(fā)展的特點是以表現(xiàn)經(jīng)濟內(nèi)容的廣告畫為主,政治宣傳畫逐漸轉(zhuǎn)化為公益廣告,并成為一種輔助表現(xiàn)形式。這個時期招貼藝術(shù)的整體風(fēng)格和審美特點都是寫實的,表現(xiàn)手法相對比較單一。而2000年以來,隨著經(jīng)濟文化的繁榮,商業(yè)招貼和文化公益招貼分別迎來了各自的繁榮與興盛。在表現(xiàn)技法上呈現(xiàn)出更加多元化的傾向。色彩的選擇上也更加多元化。表現(xiàn)形式上,開始從不同角度不同層面來展現(xiàn)所要傳達的信息或者理念。引導(dǎo)、啟發(fā)、歸納和設(shè)想分析、警示的成分更多。招貼藝術(shù)的這種真實及時地反應(yīng)時代特點的特性是其區(qū)別于其他藝術(shù)形式的一種重要特性。相應(yīng)的中國招貼在這些歷史時期也存在著不同的問題,民國前后的招貼作品就內(nèi)容和表現(xiàn)形式而言,過于媚俗,缺少格調(diào);而在建國前后,招貼的藝術(shù)性又完全讓位與政治宣傳的需要;改革開放時期,招貼雖然有所進步,但是在內(nèi)容和表現(xiàn)形式上又顯得比較稚拙;2000年以來中國招貼雖然迎來了自己的繁榮期,但是在繁榮的背后,我們又很難找到真正經(jīng)典的藝術(shù)作品。
[Abstract]:The art of poster in China is almost synchronized with the history of modern China. The characteristics of each era, from the period of the revolution of the Republic of China, will combine the New year painting with the poster "month sign" art, To the "New year's Pictures of the Anti-Japanese War" during the Anti-Japanese War period, the "Anti-Japanese War posters" to the early days of the people's Republic of China, the posters of "except the four old", the "excellent birth and upbringing", as well as various posters during the period of reform and opening up, and various posters during the period of Hong Kong and Macao's return to China. All kinds of posters in the period of Olympic Games and World Expo reflect the characteristics of every historical period of China and record the details of every historical stage of China. In the early period of the Republic of China, there were a large number of posters with the nature of improved New year pictures. The aesthetic characteristics of Chinese traditional folk art are the main aesthetic features. "month sign" is a commercial poster art form in the period of the Republic of China. Influenced by western art, especially oil painting techniques. In the early days of the founding of the people's Republic of China, posters were presented on the historical stage in the form of revolutionary posters, and woodcut posters were more representative of them. Most of the lines are bold and bold, with a robust and simple style. After the founding of the people's Republic of China, the period of resisting US aggression and aiding Korea, the period of Great Leap forward or the period of Cultural Revolution, political posters almost monopolized all subjects of poster art with absolute superiority. Its rich color, full composition, poster in this high-spirited vitality and enthusiasm was played to the extreme. During the Great Leap forward period, the revolutionary passion in posters evolved into an absurd expression. The works of this period are based on exaggeration. By the time of the Cultural Revolution, posters showed a pathological intensity in color. The period in which the art of poster art in China developed rapidly was after the reform and opening up. In the 1980s, Chinese poster advertisements focused on promoting new trends of thought, supplemented by commercial posters, and began to be no longer confined to realistic performance techniques. Began to try to use abstract techniques to express artistic effects, began to infiltrate life and personal color. The characteristics of the development of Chinese poster art in the 1990s are mainly the advertising paintings which express the economic content, and the political posters are gradually transformed into public service advertisements and become an auxiliary form of expression. In this period, the whole style and aesthetic characteristics of poster art are realistic and relatively simple. Since 2000, with the prosperity of economy and culture, commercial poster and cultural public poster have ushered in their respective prosperity and prosperity respectively. In the performance techniques show a more diversified tendency. The choice of color is also more diversified. In form, we begin to present the message or idea from different angles and different levels. There are more elements of guidance, inspiration, induction, and tentative analysis. This real and timely characteristic of poster art is an important characteristic that distinguishes it from other art forms. The corresponding Chinese posters also have different problems in these historical periods. The poster works before and after the Republic of China are too vulgar and lack style in terms of contents and forms of expression, but before and after the founding of the people's Republic of China, The artistry of the posters completely gave way to the needs of political propaganda; although the posters made some progress during the period of reform and opening up, they were relatively young and clumsy in their contents and forms of expression. Although the Chinese posters have ushered in their own prosperous period since 2000, But behind the boom, we find it hard to find real classic works of art.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J524.3

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