辛亥革命与广东画坛

发布时间：2018-07-31 19:18

【摘要】：辛亥革命,揭橥中国现代革命史的序幕,是为20世纪初中国政治和文化思想史上,最为激动人心而又暖昧含糊、又是最耐人寻味的研究课题。温和与激进、妥协与对抗、理性与非理性、长于政治谋略抑或缺乏政治信仰,这些带有悖论性的修辞,在描述辛亥革命时却十分贴切。之所以如此,在于辛亥革命前后,中国政治和社会文化思想之间,存在着前所未有的缠绕关系,换句话说,就是在今天学科界限被不断打破的研究视野中,对辛亥革命的考察在更多知识维度上,都展现出细微而丰富、甚至驳杂而难以厘清的面貌。就是说,在解构了价值二元论的认知观念后,我们今天已经无法给予辛亥革命一种准确的意义评价：历史研究不断带来新的阐释的可能,尤其是研究者内在与日俱增的同情心,赋予了辛亥革命某种迷人的悲壮色彩和理想主义特征。毋庸置疑的是,今天我们的政治逻辑和思想情境,仍然延续了辛亥革命时期的某些影响。在知识和思想界,研究者也往往将辛亥革命视为反思中国现代政治意识形态的基点。这是我们重新认识20世纪以来政治和文化思潮的肇始：如何认识辛亥革命前前后后的多重端绪?又如何评价辛亥革命在怎样的层面上发生着影响?都是值得我们继续探讨的问题。本论文关注的课题是,辛亥革命这场政治大变局,对20世纪前期广东画家群体美术活动的影响。传统意义上的美术史研究,要求在更普遍的意义上,关注画家的传记、思想、创作；包括现代西方学者建立的“风格学”研究视角,都是美术史研究的基本方式。20世纪以来,美术史研究作为观念史的一部分,建构了“艺术社会学”、“图像学”、“视觉文化研究”、“艺术人类学”的分析方法,扩展了美术史学科的研究领域和开放性价值：美术史研究也就不再单纯局限于传统的知识谱系,而是在一个更为开阔的政治、社会和文化情境中考虑其存在的意义。本论文在叙事观念上,尤以艺术社会学理论为依据,在梳理原始材料的基础上,力图叙述清楚广东画家群体在怎样的历史境遇中,参与着辛亥革命事业的过程；而这场充满挫折的未竟之业的匆促收场,又对广东画家群体的画学思想造成了怎样的冲击,都是本研究的核心内容。论文第一章阐述了晚清时期,广东画家接受革命思想的社会和文化背景；第二章梳理了辛亥革命前夕广东画家参与创设画刊播布革命思想的情状；第三章讨论辛亥革命后广东画家在画学观念上的转变,出现了新国画和传统派的分歧,以高剑父和潘达微的。
[Abstract]:The Revolution of 1911, the prelude to the history of modern Chinese revolution, is the most exciting, ambiguous and intriguing research topic in the history of Chinese politics and cultural thought in the early 20th century. Moderate and radical, compromise and confrontation, rationality and irrationality, good at political strategy or lack of political belief, these paradoxical figures of speech are apt to describe the Revolution of 1911. The reason for this is that before and after the Revolution of 1911, there is an unprecedented entanglement between Chinese politics and social cultural thinking. In other words, in the research field where the boundaries of disciplines are constantly broken today, The investigation of the Revolution of 1911 shows a subtle and rich, even complicated and difficult to clarify in more dimensions of knowledge. That is to say, after deconstructing the cognitive concept of dualism of value, we can no longer give the 1911 Revolution an accurate evaluation of meaning today: historical research has constantly brought new possibilities for interpretation, especially the growing compassion within researchers. The 1911 Revolution was endowed with some charming tragicomania and idealism. There is no doubt that our political logic and ideological context continue some of the influence of the Revolution of 1911. In the field of knowledge and thought, researchers often regard the 1911 Revolution as the basic point of reflection on Chinese modern political ideology. This is the beginning of our new understanding of the political and cultural trends of thought since the 20th century: how to understand the multiple threads before and after the 1911 Revolution? How to evaluate the impact of the 1911 Revolution on what level? Are worthy of our continued discussion. This thesis focuses on the influence of the 1911 Revolution on the art activities of Guangdong painters in the early 20th century. The study of art history in the traditional sense requires that, in a more general sense, attention should be paid to the biography, thought, and creation of painters, including the perspective of "stylistic" studies established by modern western scholars, which has been the basic way of art history research since the 20th century. As a part of the history of ideas, the study of art history constructs the analytical methods of "sociology of art", "graphology", "study of visual culture", "anthropology of art". It expands the research field and the open value of the art history subject: the art history research is no longer confined to the traditional knowledge pedigree, but considers the significance of its existence in a broader political, social and cultural context. On the basis of narrative concept, especially on the basis of art sociology theory and combing the original materials, this paper tries to explain clearly what kind of historical circumstances Guangdong painters are participating in the process of Xinhai Revolution. However, the hurriedly ending of this uncompleted undertaking, which is full of frustration, is the core content of this study, and what kind of impact has been caused to the painting thought of Guangdong painters. The first chapter expounds the social and cultural background of Guangdong painters' acceptance of revolutionary ideas in the late Qing Dynasty, the second chapter combs the situation in which Guangdong painters participated in the creation of revolutionary thoughts of painting periodicals and cloth on the eve of the 1911 Revolution. The third chapter discusses the changes in the concept of painting of Guangdong painters after the Revolution of 1911, and the differences between the new Chinese painting and the traditional school, to Gao Jian's father and Pan Dawei's.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209.2

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