梅利尼科夫绘画艺术研究.doc

此文档收集于网络，如有侵权，请联系网站删除 梅利尼科夫绘画艺术研究 A Study on the Paintingsof Andrei Mylnikov 论 文 摘 要俄罗斯美术是欧洲美术的一个重要组成部分，尤其是19世纪的批判现实主义和20世纪苏联时期的社会主义现实主义，都为推动世界现实主义美术的发展起到了积极的作用，并极大影响了新中国美术的发展。本文论述的内容主要涉及第二次世界大战后现实主义美术的转型阶段。这里所说的转型期是一个大的概念，是指从苏联卫国战争后直到世纪之交的半个多世纪俄罗斯美术逐渐转变的过程。当然这中间包括了两个比较明显的阶段：第一个是50年代，赫鲁晓夫当政之后政治上的“解冻期”，美术创作思想得到了很大的解放，苏联迎来了社会主义现实主义美术的高峰；另一个重要的阶段是从戈尔巴乔夫改革开始，一直到1991年“八一九”事件之后，社会主义现实主义美术理念丧失了生存的环境，俄罗斯美术必然要寻找新的动力和源泉。梅利尼科夫.安德列.安德列依维奇 （ ）能否在世界现实主义美术发展中占有一席之地，需要以后的美术史做出客观的评判。但他在苏联现实主义美术中的成就和地位是不容置疑的。他的艺术生涯贯穿整个卫国战争后俄罗斯美术的转型期。是当时世界流行的社会主义现实主义美术思潮中一个重要分支的代表人物。同时他还是一位杰出的俄罗斯美术教育家，培养了大批优秀的学生。他对卫国战争后俄罗斯美术发展的影响，超越了同时期许多优秀的艺术家。研究梅利尼科夫的美术离不开卫国战争后俄罗斯美术转型的大背景。本文共分六个章节。第一章对卫国战争后俄罗斯美术的逐步转型做了简单的梳理。阐述苏联社会主义现实主义美术，是世界现实主义美术在20世纪的一个重要流派，虽然它被赋予了意识形态的标签，但它继承发扬了欧洲500年来的现实主义美术传统，在20世纪50年代后又大量吸收了包括印象主义和20世纪上半叶前卫美术流派的营养，使现实主义美术以一种崭新而多样的面貌出现。这个流派在苏联解体前后社会巨变的环境中，丧失了精神支柱，开始寻找新的原动力和艺术方向。第二章通过对梅利尼科夫早年艺术生涯的介绍，分析其艺术风格的成因。梅利尼科夫的艺术分为两大类：一类是大型主题性独幅油画创作和壁画创作，梅利尼科夫在此类作品中能够把握时代脉搏，创作出和苏联至俄罗斯社会发展息息相关，具有深刻内涵的现实主义作品。另一类作品是梅利尼科夫的小型作品，这些作品摆脱了政治干扰，轻松地抒写了对自然、对人的爱，含有唯美的艺术追求。第三章分析梅利尼科夫的艺术风格并寻找他艺术语言的渊源。梅利尼科夫的艺术受到中世纪俄罗斯传统美术和欧洲古典美术的双重影响，同时他大胆吸收早期现代主义艺术的形式语言和传统中国画的写意手法，在主题性的绘画创作中把苏联式纪念碑美术的特点发挥到极致，但他的艺术和19世纪巡回展览派的艺术理念到手法有本质的区别，在同时期的苏联美术家中风格面貌也独树一帜。第四章论述梅利尼科夫是俄罗斯重要的美术教育家。此章节首先介绍列宾美术学院的教学体系，梅利尼科夫是这一体系重要的维护者；之后介绍梅利尼科夫的教学主张，这些主张在20世纪80年代后在列宾美术学院的影响力越来越大。第五章讨论“梅利尼科夫学派”问题。此章节通过对这些梅氏弟子的逐一介绍，说明梅利尼科夫学派在苏联解体后的美术转型期仍然有很强的艺术生命力。结束语中介绍梅利尼科夫和中国美术的关系，他的艺术对新中国美术产生了影响。20世纪60年代之后，苏联美术的高峰期之后的俄罗斯美术在中国介绍甚少，对这一时期苏联美术的发展历程没有进行认真的梳理。本文通过对梅利尼科夫及其艺术的研究，力图梳理卫国战争后俄罗斯美术的进程，说明苏联社会主义现实主义是人类现实主义美术的重要组成部分，讨论它的成就和得失。 关键词： 苏联转型期、社会主义现实主义、主题性绘画创作、纪念性绘画创作、现实主义形式化语言、现实主义写意画风 AbstractAs a majorpart of European painting, Russian painting, especiallyduringthe 19thcentury critical realism and 20thcentury Socialist realism of the Soviet Union, has played a vital role in shaping realist painting around the world. It has also heavily influenced Chinese painting since 1949. The dissertation is mainly concerned withthe transitional period of the Realism in Russia after the post-WWII. Specifically, refers to the period from the end of the Great Patriotic War (1941-1945) tothe 21st century.The first milestone was in the 1950s,after the Khrushchev “Thaw” emancipated the minds of Soviet artists which lead up to the vertex of Socialist realism in Soviet. The second milestone was during the Perestroika reforms initiated by Gorbachev, when the school of Socialist realist painting lost the soil to sustain its growth and Russian painting had to seek a new driving force. Whether or not Andrei Andreevich Mylnikov (Russian: ) can be deemed as a key figure in the world of realist painting may depend on the verdict of future art historians. Meanwhile, his achievement and position in Soviet realist painting is beyond challenged. With his artistic career spanning the entire post-Great-Patriotic-War transitional period, Mylnikov represent one of the school of Socialist realist painting. He is also an outstanding educator, who has instructed a large number of great artists.His contribution to the development of Russian paintings after the Great-Patriotic-Waroverwhelmed most of his contemporaries. The study on the paintings of Mylnikov cannot be conducted without an understanding of the critical period of traditional Russian art during the Post-Great-Patriotic-War. The dissertation is divided into six chapters. The first chapter is briefly overview the gradual transitionof Russian painting after the GreatPatrioticWar. Socialist realist painting, despite its ideological label, is an important movement of realist form of art in the 20th century. It has inherited the 500-plus-year legacy of European realist painting since the 1950s.Soviet artists have embraced a wide variety of art forms under impressionist paintings and the first half of the 21th century of avant-garde art. Thanks to its contribution, realist style of paintings has rendered a new art scene.However, this school of painting lost its spiritual support in the midst of the political and social turmoil brought by the dissolution of the Soviet Union in 1991. It started a new source of inspiration and path of development. The second chapter traces the early artistic career of Mylnikov and analyzes how his unique style was formed. His art works fall into two types. The first type is large-scale single pieces of oil paintings and murals with themes. Beating with the pulse of the times, Mylnikov created many profound realist art works that reflect the social reform progress from the Soviet Union to Russia. The second type is small-scale ofworks that are free from political interference and skillfully depict the love of nature and men,which reflects his pursuit of aestheticism. The third chapter discusses the artistic style of Mylnikov and examines the sources of his artistic expression. In addition to his influenced by both of the traditional Russian paintings of the Middle Ages and European classical paintings, Mylnikov adopted widely from the language of the early modern art and the freehand brushwork style of traditional Chinese paintings.Further, he fully expressed those methods on the creation of his Soviet-style monumental paintings. However, his art was distinctively different from the artistic philosophy and techniques of the Itinerants of the 19th century. Mylnikovs style was also different from his contemporaries during the Soviet-era. The fourth chapter focuses on his contribution of educational art in Russia. After describing the curriculum of the Repin Institute of Arts, the development and maintenance of which is largely attributed to Mylnikovs effort, the chapter describes his educational philosophy, which has been gaining more and more influence in the Institute since the 1980s. The fifth chapter discusses the so-called Mylnikov School. By introducing all the pupils of Mylnikov, the author intends to prove that the Mylnikov School still enjoys artistic vitality in the transitional period after the dissolution of the Soviet Union.The last chapter explains the connection between Mylnikov and Chinese painting. It is fair to conclude that his art has exerted influence upon post-1949 Chinese art. Unfortunately, Russian art after its Soviet peak has not been adequately introduced to China since the 1960s, and a comprehensive historical evolution of Soviet art during this period was forbidden. This dissertation intends to trace the evolution of Russian painting since the Great Patriotic War through the study of Mylnikov and his art. Also it proves that the mainly component of human realist art is the Soviet Socialist realism. Besides, discussion of the achievements and failures of Soviet realist painting also been arose. Key Word:transitional period of Sovietthe school of Socialist realist paintingtheme-based paintingsmonumental paintingsLanguage of realismRealism, Freehand Brushwork Style 目 录引言 /17 第一章 卫国战争后俄罗斯美术的转型 /23 第二章 梅利尼科夫的艺术生涯与艺术精神 /55 1 步入美术殿堂梅利尼科夫早年的艺术经历 /56 2 把握时代脉搏主题性独幅绘画与壁画 /66 3 美能拯救世界梅利尼科夫的小型绘画创作 /80第三章 梅利尼科夫艺术风格及其源流 /91 1 对古俄罗斯民族美术的借鉴 /92 2 追求古典艺术的唯美与理性 /95 3 与巡回展览派不同的艺术方向 /110 4 吸收纪念性雕塑的创作手法 /114 5 探寻现代艺术的形式语言 /124 6 融汇中国写意画风 /133 7 梅利尼科夫与同时代苏联美术家的风格比较 /136 第四章 梅利尼科夫与列宾美术学院教学体系 /149 1 列宾美术学院的教学体系 /150 2 梅利尼科夫的教学理论与主张 /159 第五章 处在世纪之交的梅利尼科夫学派 /173 结语 /199 Table of ContentsIntroduction Chapter 1 Transition of Russian Paintingafter the GreatPatrioticWar Chapter 2 Artistic Career and Spirit of Mylnikov 1 Stepping into the World of PaintingEarly Artistic Career of Mylnikov 2 Keeping in Pace with the TimesTheme-based Single pieces of Paintings and Murals 3 Saving the World with AestheticismSmall-scale Paintings of Mylnikov Chapter 3 Artistic Style and inspiration of Mylnikov 1 Influencing by the Heritage of Ancient Russian Folk Art 2 Pursuing Aestheticism in Classical Art 3 Seeking a Different Path from the Itinerants 4 Absorbing the Skills of Monumental Sculptures 5 Exploring the Formal Language of Modern Art 6 Integrating the Freehand Brushwork Styleof Traditional Chinese Painting 7 Comparing between Mylnikov and His Contemporaries during the Soviet-era Chapter 4 Mylnikov and the Curriculum of the Repin Institute of Arts 1 Curriculum of the Repin Institute of Arts 2 Mylnikovs Educational Theory and Philosophy Chapter 5 Mylnikov School at the Turn of the Third Millennium Conclusion 引 言新中国对俄罗斯美术的认识分三个阶段：第一阶段是1949年中华人民共和国成立后的十年，由于西方国家对中国的全面封锁，中国美术和西方交流的途径只有通过苏联这个窗口。中国全面地接受了俄罗斯现实主义美术，包括巡回展览派美术和苏联社会主义现实主义美术，但对古俄罗斯美术、艺术世界、先锋派等现代美术没有全面的介绍。第二阶段是中苏关系恶化之后，尤其是“文革”期间，俄罗斯文化被戴上了“苏修”的帽子，俄罗斯美术在中国大众中的传播被一度中断，但在美术界，许多艺术家、学生仍然在学习俄罗斯美术。因此“文革”前成长起来的中国艺术家或多或少地受到了俄罗斯艺术的影响。第三个阶段是改革开放之后，中国向西方全面开放，中国美术界的一些年轻人饥不择食地全面接纳西方诸美术流派，不少人也逐渐接受了西方美术理论家对俄罗斯美术的定位，认为俄罗斯美术在世界艺术格局中无足轻重，现实主义艺术已经过时。因此各美术院校对俄罗斯美术的介绍甚少，“苏派”成了僵化保守的美术学院体系的代名词。在美术理论研究方面除了老一辈留苏美术理论家外，年轻一代理论家一方面缺少俄语基础，另一方面对俄罗斯美术体系的研究也兴趣索然，造成对20世纪60年代后特别是苏联解体之后的俄罗斯美术介绍与研究严重缺失。事实上，苏联美术在卫国战争之后逐渐达到高峰，特别是赫鲁晓夫实行改革政策后，政治上的“解冻”推动了美术的多元化发展。苏联社会主义现实主义美术不仅和19世纪巡回展览派的现实主义拉开了距离，还最大程度地摆脱了斯大林时期偏“左”意识形态的束缚，呈现出风格多样的局面，在5070年代，创作出大量的美术佳作，使现实主义美术在世界范围内大放异彩。梅利尼科夫是属于1917年俄国十月革命后出生的一代人，他的童年背负了十月革命后他的家庭遭受的磨难，同时又接受了社会主义时期的教育。梅利尼科夫的重要艺术创作生涯是从卫国战争后开始的。他的每幅主题性创作几乎都是时代精神的写照。他获得了一次次成功，成为获得苏联最高荣誉勋章最多的艺术家。研究梅利尼科夫的大型美术创作是梳理苏联美术发展脉络的重要途径。而与此同时，在梅利尼科夫众多小型创作中，广泛吸收了包括西方现代艺术和中国写意画风等多种艺术营养。梅利尼科夫已经不是传统型的现实主义画家，他特别重视绘画形式语言，形成了具有形式美感的现实主义画风，成为彼得堡绘画流派的领军人。梅利尼科夫在列宾美术学院执教60年，对保持和发展列宾美院传统学院教学体系起到了主导作用，同时他也将自己的艺术观念转化为教学主张在学院中逐步推广。在80年代后，其他有影响的老艺术家相继去世，梅利尼科夫的影响逐渐扩散到绘画专业的许多工作室，一方面这种影响促进了现实主义美术教学体系的延续，另一方面也使学院教学逐渐趋于同化，美术教育方法和审美趋向在列宾美院逐渐被单一化了。梅利尼科夫一生培养了大量的艺术家，这些艺术家在今天彼得堡美术界相当活跃。在苏联至俄罗斯的转型期，这些艺术家对保持学院美术传统，保持现实主义美术方向起到了积极的作用，与此同时，他们彼此的艺术方向也出现了一些差异，在世纪末的俄罗斯美术界形成了一支不可忽视的力量。梅利尼科夫也是对中国最有影响的俄罗斯画家之一，他的作品从上世纪50年代被介绍到中国，对许多中国艺术家产生过影响。梅利尼科夫拥有许多中国学生，他的许多艺术与教学主张通过中国学生传入中国。梅利尼科夫也是中国新兴收藏家十分青睐的俄罗斯艺术家，他的许多作品被中国收藏。本文通过对梅利尼科夫艺术生涯的介绍，和对他艺术方向、绘画滋养、教学理念和学派等方面较深入的研究，从一个侧面呈现出苏联中后期到苏联解体前后的艺术面貌，以说明20世纪后半叶的苏联现实主义美术，不仅是人类现实主义美术的延续，而且是20世纪世界范围人类现实主义美术的新篇章，它的历史价值不容忽视，对未来艺术的发展会产生积极影响，可以给中国当今多元化、民族化美术发展带来有益的启示和借鉴。 IntroductionThe post-1949 Chinese reception and perception of Russian painting can be divided into three phases. The first phase is from 1949 to 1959, when the only channel of exchange between Chinese painters and the West was through the Soviet Union because of the full blockade of China by the West. At that time, Chinese artists comprehensively accepted the school of Russian realist painting, including the works of Itinerants and Socialist realist painting. However, ancient Russian painting, Avant-Garde art and other art movements were not adequately introduced in China. The second phase started from the Sino-Soviet split in 1960 and ended when the reform and opening-up policy was initiated in 1978. During the Cultural Revolution (1966-1976), Russian art was denigrated as “Soviet revisionism”. Hence, the introduction of Russian art among the general public in China was interrupted. However, many artists and students of art were still studying Russian art. In the third phase, when China has opened its door to the outside world, some young Chinese artists blindly followed different movements of Western painting, and some even identified with the verdict on Russian painting by Western art theorists, i.e., Russian painting plays a minimal role in the world of art and realist painting is outdated. As a result, few of theart academies in China were actively introducing Russian painting, and the so-called Soviet Factionbecame synonymous with rigidity and conservatism. Today, except for a few art theorists who studied in the Soviet Union in the 1950s, the younger-generation art theorists, who do not speak Russian, are simply not interested in studying Russian art. As a result, we have been witnessing a serious lack of introduction of and study on Russian painting since the 1960s particularly after the dissolution of the Soviet Union. In reality, Soviet painting gradually reached its peak after the GreatPatrioticWar. Khrushchevs political reforms further pushed artistic pluralism. Socialist realist painting not only broke away from the realist school of the Itinerants of the 19th century, but also managed to free itself from the leftist ideology of the Stalin era. From the 1950s to the 1970s, Socialist realist painters produced many superb works of art, earning a high reputation in the world. Born in 1919, two years after the October Revolution, Mylnikov suffered from many hardships as a child because of the political turmoil and was educated in a socialist environment. It was not until after the GreatPatrioticWar that he began to produce significant pieces of art. Almost all his theme-based artworks are reflected of the ethos of the times. He won more Highest Honors during the Soviet era than any other artists. The study of Mylnikovs large-scale artworks is an important way to understand the evolution of Soviet painting movement. At the same time, many of Mylnikovs small-scale artworks incorporated the essence of Western modern art and the freehand brushwork style of traditional Chinese painting. Therefore, he is not to be seen as a realist painter in its traditional sense. Paying special attention to the formal language of painting, Mylnikov has developed a realist style with formal aesthetic properties and become a leader of the Leningrad School of Painting. Mylnikov has been teaching in the Repin Institute of Arts for six decades and played a key role in maintaining and developing curriculum system for institute. He also managed to initiate his artistic theories to educational philosophy in the Institute. As many influential Russian artists passed away after the 1980s, Mylnikov made impact on studios gradually.His impact has sustained the development of the curriculum of realist art. On the other hand, he also gradually unified the educational formation as a whole in his career in the Repin Institute of Arts. Mylnikov has taught many pupils, who are quite active in the art scene of St. Petersburg today. During the transitional period from the Soviet Union to Russia, these artists played a positive role in maintaining the academism tradition and the direction of realist painting. In the meantime, their artistic pursuits began to diverge. Collectively, they are a formidable force in Russias art scene. Mylnikovs works were first introduced to China in the 1950s, He is one of the most recognized Russian painters who influencing many Chinese artists. He also taught many Chinese pupils, who introduced Mylnikovs philosophy of artistic and educational reforms to China. Mylnickovs works has been appreciated in the newly market of Russian Art buyers and collectors in China. This dissertation reveals the Russian art scene from the 1950s to the 1990s by introducing the artistic career life of Mylnikov and thoroughly study of his artisic theories, ideas and also his accomplishments on higher art education. The study shows that Soviet realist painting in the latter half of the 20th century is not only a continuation but also a new chapter of realist painting. Historical value of Soviet realist movement should never be neglected which had a significant impact on art in Russia and China in the future. Further, the effect was credited for helping talent artists to develop and art to flourish in diversification and nationalization of painting development in China. 第一章 卫国战争后俄罗斯美术的转型 俄罗斯这个世界上拥有最广阔领土的国度，在自己千年的历史进程中，没有任何一个阶段像20世纪这样具有戏剧性的转变。俄罗斯人民在20世纪遭受了太多的动荡和磨难。第一次世界大战使沙皇俄国损失惨重。1917年十月革命推翻了沙皇，苏联人民却没有迎来和平，又经历了3年多的国内革命战争。在20-30年代不到20年时光里，斯大林领导苏联以惊人的速度完成了工业革命，却有几百万人在肃反运动中被无辜处决和流放。1939年刚刚经历了政治清洗的苏联社会又遭受到德国法西斯的入侵，虽然苏联人民以顽强的毅力取得了卫国战争的伟大胜利，却付出了2000万同胞的代价。直到1945年之后，苏联迎来了持久的和平，各项事业都有了长足的发展，十五个加盟共和国的联盟使苏联成为世界上最庞大的政治体，其影响辐射半个地球，然而苏联内部和外部的矛盾积蓄得越来越多，终于在1991年的“八一九”事件之后解体。一个巨人轰然倒下了。苏联用74年的历史做了一个乌托邦似的梦：这个梦“对有些人来说，是一场美好的梦，而对另一些人来说，是一场恶梦。”（注1）政治的动荡并没有阻碍俄罗斯艺术的发展，20世纪的俄罗斯美术更是缤纷绚丽，令人眼花缭乱。当然,这里的主流还是社会主义现实主义（注2），尤其是第二次世界大战后几十年的发展使这一学派达到了顶峰。西方的美术评论家称社会主义现实主义是乌托邦的怪胎，但它在20世纪30-80年代产生了巨大的影响力，出现了许多优秀的艺术家，绝不是以一个“怪胎”就可以评价的。研究20世纪后半叶的世界美术史无法避开社会主义现实主义这一流派，而对社会主义现实主义的研究也不应该停留在简单的政治层面，它应该包含对于苏联历史、文化、各种艺术流派等方面的综合研究，讨论它的产生、发展、演变、转型等课题。本文仅以绘画为代表，浅谈二战后的俄罗斯美术。所谓美术的转型对于20世纪的俄罗斯来说是一个复杂的概念，既有彻底的颠覆，又有缓慢的演变，还包含了兼容并举、包容与借鉴所产生的变化。20世纪初的20-30年，从“艺术世界”到“先锋派”，俄罗斯逐渐否定了批判现实主义的艺术观念和古典学院派的造型传统，完成了向现代艺术的转型。1934年之后苏联第一次作家代表大会确立了社会主义现实主义的创作方向后，苏联又通过整治与打压等政治手段彻底颠覆了俄罗斯现代主义艺术，重新回到现实主义传统上来，但此时的现实主义已经贴上了明显的政治标签。40-50年代经历了战争洗礼的苏联美术界在社会主义现实主义手法上逐渐成熟，而较为宽松的环境使美术创作悄悄地发生了变化，特别是赫鲁晓夫当政后对斯大林集权统治的彻底否定，西方许多近现代流派在俄罗斯逐渐解禁，社会主义现实主义向着非政治化和多元化悄然转型，直至60-70年代逐渐达到社会主义现实主义流派的艺术高峰期。80年代，社会上涌动着否定社会主义现实主义的暗流，而1991年“八一九”事件后各个流派重新粉墨登场，也在重新寻找着自己的位置，苏联的解体是颠覆式的，而此时美术的转型虽然缓慢，却也暗藏着很大的潜在力量。本文主要涉及卫国战争后俄罗斯两次重要的美术转型，梅利尼科夫作为社会主义现实主义流派的弄潮儿，一生的艺术生涯与美术教育见证了卫国战争后俄罗斯美术转型的全过程，他的学生们也成为世纪之交俄罗斯美术新转型期的一支重要力量。卫国战争之后，苏联艺术家们带着胜利的喜悦和难以愈合的创伤投入到美术创作中。1934年之后对文艺界的社会主义