本文關(guān)鍵詞： 劉海粟 美術(shù)展覽 美術(shù)近代化　出處：《華中師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：作為我國新美術(shù)運(yùn)動(dòng)的重要推動(dòng)者,劉海粟的美術(shù)思想和實(shí)踐活動(dòng),為我國近代美學(xué)的構(gòu)建、發(fā)展做出了重要貢獻(xiàn)。本文在掌握中國近代美術(shù)展覽會(huì)興起背景的基礎(chǔ)上,以20世紀(jì)20年代到40年代劉海粟的相關(guān)美術(shù)展覽為考察對(duì)象,運(yùn)用文獻(xiàn)研究法、歷史研究法等,重構(gòu)劉海粟相關(guān)美術(shù)展覽的過程,窺探劉海粟的美術(shù)思想,進(jìn)而研究劉海粟為我國美術(shù)現(xiàn)代化作出的重要貢獻(xiàn)。通過對(duì)劉海粟美術(shù)展覽興起的歷史背景進(jìn)行分析,我們了解到,在西方外來侵略和中國內(nèi)在需要的雙重背景下,傳統(tǒng)的“文人雅集”必將成為過去,美術(shù)作品必將進(jìn)入公共視野。20世紀(jì)初,美術(shù)展覽會(huì)開始以萌芽的形式出現(xiàn),雖然還很不成熟,但是它們已經(jīng)改變了中國傳統(tǒng)的藝術(shù)鑒賞方式。同時(shí),劉海粟的早期美術(shù)經(jīng)歷為其以后的美術(shù)展覽奠定了堅(jiān)實(shí)的基礎(chǔ)。通過重構(gòu)20世紀(jì)20年代到40年代劉海粟的美術(shù)展覽,我們發(fā)現(xiàn)劉海粟的美術(shù)展覽具有很強(qiáng)的時(shí)代性。20世紀(jì)20年代中國政局動(dòng)蕩、社會(huì)混亂,民眾信仰缺失,這個(gè)時(shí)期劉海粟的美術(shù)展覽以推進(jìn)藝術(shù)革命、民眾藝術(shù)化為路徑,以挽救社會(huì)為主要目標(biāo)。20世紀(jì)30年代,南京國民政府大力推行文化建設(shè),回歸傳統(tǒng)文化,劉海粟的美術(shù)展覽會(huì)逐漸與宣傳民族傳統(tǒng)文化聯(lián)系起來,擁有了更多的政治色彩。20世紀(jì)40年代,“抗戰(zhàn)救國”成為時(shí)代的主題,劉海粟的美術(shù)展覽與籌集抗戰(zhàn)經(jīng)費(fèi)和宣傳民族精神聯(lián)系起來,被賦予強(qiáng)烈的愛國色彩。劉海粟的美術(shù)展覽總是與他生活的時(shí)代緊密相連,富于時(shí)代精神。劉海粟的美術(shù)展覽對(duì)近代中國產(chǎn)生了重大影響。他的美術(shù)展覽逐步地把西方的美術(shù)展覽會(huì)全方位地移植到中國,同時(shí)又有一些創(chuàng)新,推動(dòng)了中國美術(shù)展覽會(huì)的現(xiàn)代化進(jìn)程。同時(shí),劉海粟以其美術(shù)思想和美術(shù)實(shí)踐,對(duì)中國的近代美學(xué)的構(gòu)建、發(fā)展產(chǎn)生了重大影響。
[Abstract]:As an important promoter of the new art movement in China, Liu Haisu's art thought and practice have made important contributions to the construction and development of Chinese modern aesthetics. Taking Liu Haisu's related art exhibition from 1920s to 40s as the object of investigation, using literature research method and historical research method to reconstruct the process of Liu Haisu related art exhibition, this paper explores the art thought of Liu Haisu. Then we study Liu Haisu's important contribution to the modernization of fine arts in China. Through an analysis of the historical background of the rise of Liu Haisu art exhibition, we understand that under the dual background of foreign aggression in the West and the inherent needs of China, The traditional collection of literati elegance will be a thing of the past, and the art works will enter the public field of vision. At the beginning of the 20th century, the art exhibition will begin to appear in the embryonic form, although it is still very immature. But they have changed the traditional Chinese art appreciation methods. At the same time, Liu Haisu's early art experience laid a solid foundation for his later art exhibitions. We find that Liu Haisu's art exhibition has a strong epochal character. In 20s, China's political situation was turbulent, social chaos, and people's belief was lacking. In this period, Liu Haisu's art exhibition took the promotion of the artistic revolution and the artistry of the people as the path. In 30s, the Nanjing National Government vigorously promoted cultural construction and returned to traditional culture. Liu Haisu's art exhibition was gradually linked to the propaganda of national traditional culture. In 40s, "the War of Resistance against Japan and Save the Nation" became the theme of the times. Liu Haisu's art exhibition was linked to raising funds for the War of Resistance against Japan and publicizing the national spirit. The art exhibition of Liu Haisu was always closely related to the times in which he lived. Full of the spirit of the times. Liu Haisu's art exhibition has had a great impact on modern China. His art exhibition gradually transplanted the Western art exhibition to China in all directions, and at the same time, there were some innovations. At the same time, Liu Haisu, with his art thought and practice, had a great influence on the construction and development of Chinese modern aesthetics.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：K26

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