浙江工商大学学报

近十余年中国电视和网络视听艺术的人民性问题集中汇聚为人民形象的新美质问题。中国现当代历史上“人民”概念和艺术中人民形象的内涵经历三个时段：第一个时段中人民形象凸显工农兵作为历史主体的美质；第二个时段中人民形象呈现工农兵知共担历史主体的美质；第三个时段中人民形象释放出全民具象丰满历史主体的新美质。新时代人民形象作为全民具象丰满历史主体呈现基本审美特质：具象丰满性、平而不凡性、现代君子风和喜悲融正风格。人民形象的美质有着历史具体性，随时代历史语境变迁而变迁。分析新时代电视和网络视听艺术中人民形象的新美质，有助于认识和把握新时代新文艺的新变化。

Over the past decade and more,the question of people-centeredness(renminxing) in Chinese television and online audiovisual arts has crystallized around the issue of new aesthetic dimensions(meizhi) in the representation of the people's image.The concept of "the people"(renmin) in modern and contemporary Chinese history,along with the connotations of the people's image in art,has evolved through three distinct periods.In the first period,the people's image foregrounded the aesthetic qualities of workers,peasants,and soldiers as the historical subjects.In the second period,it manifested the aesthetic qualities of workers,peasants,soldiers,and intellectuals collectively assuming the role of historical subjects.In the third period,the people's image has released new aesthetic dimensions,presenting the entire populace as concrete,substantial historical subjects.In the new era,the people's image—embodying the entire populace as concrete,substantial historical subjects—exhibits fundamental aesthetic characteristics:concrete substantiality,ordinariness imbued with extraordinariness,a modern gentlemanly ethos(junzi style),and a style of harmoniously blended tragicomic integrity(xi-beirong-zheng).The aesthetic dimensions of the people's image are historically specific,evolving alongside shifts in historical contexts.Analyzing the new aesthetic dimensions of the people's image in the television and online audiovisual arts of the new era helps to understand and grasp the transformations occurring within the new arts and culture of our time.