|
|
|
| The Image Mechanism and Visual Construction of Red Artworks Representing the Great Founding Spirit of the Party |
| HUA Yong |
| School of Marxism, East China University of Politics and Law, Shanghai, 201620 |
|
|
|
|
Abstract Red artworks are works of art that, under the leadership and organization of the CPC, literary and art workers use image symbols to visually narrate the vast history of the CPC's century-long struggle with major historical events and important historical figures as themes. Organizing and creating red artworks, publicizing the CPC's propositions, uniting the people, and striving to achieve the great rejuvenation of the Chinese nation is the historical experience of the CPC's propaganda work. Material production determines spiritual production, and the struggle and brilliant achievements of the CPC are the representation objects of red artworks. Spiritual production reflects material production, and red artworks filled with the aesthetic qualities of truth, goodness and beauty are an important form of representing the great founding spirit of the Party. In terms of representation techniques, the events and figures that carry the great founding spirit of the Party are selected as the theme of the painting, the composition layout that highlights the heroes and the people, the use of the red symbol of the party flag and the red star, and the visual contrast of warm and cold tones directly present the value connotation of the great founding spirit of the Party. Thanks to the dual rendering of the sublime subject matter and the sublime visual, the theatrical visual fusion makes the emotional value stimulated by the viewer rise to political identity and transforms the practical requirements of the great founding spirit of the Party into individual behavioral norms. The visual construction of red artworks fully demonstrates the unique value of image representation through the immersive theater effect.
|
|
Received: 10 May 2024
|
|
|
|
|
|
[1] 徐沛,杨璐嘉.南征还是北伐?一场战争的两种视角——对民国画报的图像表征分析[J].国际新闻界,2020,42(11):154-176.
[2] 陈剑. 图像的表征与“内里”——古元延安时期婚姻题材木刻版画作品的视觉文化解读[J].文艺研究,2017,(2):144-151.
[3] 廖宏勇. “图像”的“图像”——论信息图表的视觉表征与建构[J].中南大学学报(社会科学版),2016,22(1):208-213.
[4] 任赟娟. 图像表征与礼乐内涵:古格故城遗址和拉达克古寺宣舞壁画研究[J].中央民族大学学报(哲学社会科学版),2022,49(2):137-146.
[5] 尚辉. 开创人类艺术史的新篇章——《红色美术经典》总论[J].中国美术,2011,(5):117-121.
[6] 冯民生,沈宝莲.论红色美术与中国现代美术史建构[J].中国文艺评论,2021,(7):56-65.
[7] 赵成清. 新时期中国红色美术作品的历史书写与审美建构[J].文艺争鸣,2018,(3):178-184.
[8] 叶中锋. 中国红色美术本质探索[J].西北美术,2012,(4):33-35.
[9] 黄晨.红色图像与历史书写——建党百年红色美术的历史价值与审美建构[J].南京艺术学院学报(美术与设计),2021,(2):1-5+219.
[10] 丁澜翔. 谱系·主体·视觉——关于红色美术研究的几点浅见[J].美术观察,2021,(7):26-27.
[11] 刘红凛.伟大建党精神的形成过程、科学内涵与赓续发展[J].马克思主义研究,2021,(12):22-31+145.
[12] 习近平. 习近平谈治国理政(第二卷)[M].北京:外文出版社,2017.
[13] 周宪. 视觉建构、视觉表征与视觉性——视觉文化三个核心概念的考察[J].文学评论,2017,(3):17-24.
[14] 郭若平. 史事与文化:中共精神史研究再思[J].中共党史研究,2016,(5):79-92. |
|
|
|
2024, Vol. 41 
