1938年：国家与艺术家黄鹤楼大壁画与抗战初期中国现代美术的转型

发布时间：2018-04-26 22:42

本文选题：1938年 + 国家　；参考：《中国美术学院》2013年博士论文

【摘要】：国家与艺术家的关系是艺术史上的基本命题之一。放在中国现代美术史的语境中，特别是放在抗日战争初期交战国双方的跨语境背景下，国家与艺术家的关系显得尤为突出。本文以1938年作为考察中国现代美术史的历史分期点，而不是通常的1949年，正是基于这一关键命题的现代释读。而构成这一释读的艺术史现象，是1938年8、9月间在武汉由著名剧作家田汉主持，以及王式廓、李可染等十余位画家集体创作的黄鹤楼大壁画。这幅大壁画的创作现场，不仅见证了民族国家与艺术家之间紧密关系的确立，也预示了信奉自由主义和个人主义的现代艺术的重大转型。现代美术运动的代表人物、决澜社画家倪贻德在这幅象征着国家主义和集权主义的大壁画中的出场和退场，提供给我们一个极佳的视角，，以此来考察国家与艺术家之间全新关系的复杂生成过程。围绕着这幅壁画的制作，本文从武汉的国民政府政治部三厅、倪贻德游学日本的历史背景、抗战初期中国大陆的壁画风潮、中日之间的宣传战以及孤岛时期洋画运动的余续等五个部分。本文以跨语境的视野重构这段至为重要但却被历史叙述所忽视的转折点，并从世界艺术史的范围，深化对导致中国现代美术这一重大转折的各种成因的总体认识。
[Abstract]:The relationship between state and artist is one of the basic propositions in art history. In the context of Chinese modern art history, especially in the cross-context background of the warring States in the early period of the War of Resistance against Japan, the relationship between the state and the artist is particularly prominent. This paper takes 1938 as the historical division of the study of Chinese modern art history, rather than the usual 1949, which is based on this key proposition of modern interpretation. The art history of this interpretation was composed in August and September 1938 in Wuhan by famous playwright Tian Han, as well as Wang style profile, Li Keran and other artists collectively created the Yellow Crane Tower mural. The scene of this mural painting not only witnessed the establishment of a close relationship between the nation state and the artist, but also foreshadowed a major transformation of the modern art of liberalism and individualism. The appearance and exit of Ni Yi-de, a representative figure of the modern art movement, in this mural, which symbolizes nationalism and centralism, provides us with an excellent perspective. In order to examine the new relationship between the state and artists of the complex process of formation. Around the production of this mural, this article from Wuhan National Government political Department of the three halls, Ni Yide travel to Japan's historical background, the Chinese mainland in the early days of the War of Resistance against Japan murals trend, The propaganda war between China and Japan and the continuation of the foreign painting movement in the island period. This paper reconstructs the turning point which is most important but neglected by historical narration from the perspective of cross-context, and from the scope of world art history, deepens the general understanding of the causes that lead to the great turning point of Chinese modern art.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J218.6;J120.9

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