民国时期现代雕塑研究

发布时间：2018-03-18 12:55

本文选题：民国　切入点：时期　出处：《中央美术学院》2007年博士论文　论文类型：学位论文

【摘要】： 民国时期，传统雕塑日益衰落，，在以“师夷之长”为日的的留学大潮中，一批抱有艺术理想的年轻人赴法国、意大利、比利时、日本、美国等国家学习西方雕塑。他们回国以后，通过雕塑创作、创办雕塑系(科)、译介西方雕塑文献和资料，成为现代雕塑的拓荒者，他们亦成为中国第一批雕塑家。这些年轻雕塑家凭借从国外学到的写实雕塑技法，塑造名人肖像、创作纪念碑式雕塑，使雕塑进入上层社会和城市公共空间，使已经不是艺术主流的西方学院派写实雕塑成为中国现代雕塑的“母体”。国民政府成立之后，社会精英人士对城市发展、政府形象塑造有诸多设想，尽管这些设想未能全部付诸实施，但也为公共雕塑的发展提供了一些发展机遇。此后，抗日战争爆发，反映战争题材的雕塑作品多有出现，与名人雕像相比，这些作品的题材因与国家存亡密切相关，引起了社会的更大关注。解放战争时期，国民党的一党专政和贪污腐败引起了社会不满，反映民生疾苦、渴望自由的作品多有出现。同时，国统区的左翼文艺思潮的兴起以及解放区文艺政策的确立使“农”“工”题材作品也崭露头角。本论文以民国时期的现代雕塑为研究对象，期望通过历史材料的钓沉索隐，通过对“历史背景”的构画，揭示现代雕塑产生的历史契机，讨论雕塑家出国学习的个人动机和成行机缘，在中西艺术比较的框架中，透视雕塑家在国外的学习情况和艺术创作情况，以及他们在国外环境中对中西雕塑的反思。留洋雕塑家是民国现代雕塑的最早创作者，笔者从“‘雕塑家’的出现、‘雕塑家’的多重身份、雕塑介入现实生活、雕塑风格的民族化”等方面入手，探究“现代雕塑的出现和发展”，并以此为基础，研究现代雕塑和公共空间以及展览的关系。
[Abstract]:During the period of the Republic of China, the traditional sculpture declined day by day. In the tide of studying abroad with "Shiyi long", a group of young people with artistic ideals went to France, Italy, Belgium and Japan. The United States and other countries studied Western sculpture. After returning to China, they established a department of sculpture through sculpture creation and became pioneers of modern sculpture by translating western sculpture documents and materials. They also became the first sculptors in China. These young sculptors used realistic sculpture techniques learned from abroad to create celebrity portraits and monumental sculptures that allowed them to enter the upper social and urban public spaces. Making realistic sculptures of Western academicians, which are no longer the mainstream of art, the "mother body" of modern Chinese sculptures. After the establishment of the National Government, the social elite had many ideas for the development of the city and the shaping of the image of the government. Although these ideas were not fully implemented, they also provided some opportunities for the development of public sculptures. After that, the War of Resistance against Japan broke out, and there were more sculptures reflecting the theme of the war, compared with celebrity statues. The themes of these works are closely related to the survival of the country and have aroused greater social concern. During the War of Liberation, the Kuomintang's one-party dictatorship and corruption caused social discontent, reflecting the livelihood of the people. At the same time, the rise of left-wing literary thoughts in the areas under the control of the state and the establishment of literary and artistic policies in the liberated areas have made the works on the subject of "agriculture" and "work" come to the fore. This paper takes the modern sculpture of the Republic of China as the research object, hoping to reveal the historical opportunity of the modern sculpture through the historical material's fishing and sinking, and through the construction of the "historical background". Discuss the individual motivation and opportunity for the sculptor to study abroad, and in the framework of art comparison between China and the West, perspective the learning situation and artistic creation of the sculptor abroad. And their reflection on the Chinese and Western sculptures in the foreign environment. The sculptors who stayed abroad were the earliest creators of modern sculpture in the Republic of China. From the appearance of "sculptors" and the multiple identities of "sculptors", sculptures intervened in real life. Starting with the nationalization of sculpture style, this paper probes into the emergence and development of modern sculpture, and studies the relationship between modern sculpture and public space as well as exhibition.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2007
【分类号】：J309.2

【共引文献】