本文關鍵詞： 劉海粟 美術展覽 美術近代化　出處：《華中師范大學》2017年碩士論文　論文類型：學位論文

【摘要】：作為我國新美術運動的重要推動者,劉海粟的美術思想和實踐活動,為我國近代美學的構建、發(fā)展做出了重要貢獻。本文在掌握中國近代美術展覽會興起背景的基礎上,以20世紀20年代到40年代劉海粟的相關美術展覽為考察對象,運用文獻研究法、歷史研究法等,重構劉海粟相關美術展覽的過程,窺探劉海粟的美術思想,進而研究劉海粟為我國美術現(xiàn)代化作出的重要貢獻。通過對劉海粟美術展覽興起的歷史背景進行分析,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,美術作品必將進入公共視野。20世紀初,美術展覽會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)的藝術鑒賞方式。同時,劉海粟的早期美術經(jīng)歷為其以后的美術展覽奠定了堅實的基礎。通過重構20世紀20年代到40年代劉海粟的美術展覽,我們發(fā)現(xiàn)劉海粟的美術展覽具有很強的時代性。20世紀20年代中國政局動蕩、社會混亂,民眾信仰缺失,這個時期劉海粟的美術展覽以推進藝術革命、民眾藝術化為路徑,以挽救社會為主要目標。20世紀30年代,南京國民政府大力推行文化建設,回歸傳統(tǒng)文化,劉海粟的美術展覽會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40年代,“抗戰(zhàn)救國”成為時代的主題,劉海粟的美術展覽與籌集抗戰(zhàn)經(jīng)費和宣傳民族精神聯(lián)系起來,被賦予強烈的愛國色彩。劉海粟的美術展覽總是與他生活的時代緊密相連,富于時代精神。劉海粟的美術展覽對近代中國產(chǎn)生了重大影響。他的美術展覽逐步地把西方的美術展覽會全方位地移植到中國,同時又有一些創(chuàng)新,推動了中國美術展覽會的現(xiàn)代化進程。同時,劉海粟以其美術思想和美術實踐,對中國的近代美學的構建、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.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：K26

【相似文獻】

相關期刊論文 前10條

1 崔廣曉;;動機與背景——民國時期第一次全國美術展覽會之研究[J];藝術·生活;2006年05期

2 商勇;;蔡元培與第一次全國美術展覽會[J];美苑;2007年01期

3 崔廣曉;;民國時期教育部第一次全國美術展覽會新國畫(折衷派)之研究[J];聊城大學學報(社會科學版);2008年02期

4 崔廣曉;;民國時期第一、二次全國美術展覽會不同結果之緣由考[J];藝術百家;2008年04期

5 崔廣曉;;民國時期“美術大眾化”思想的傳播及其意義——以1929年第一次全國美術展覽會為視點[J];邵陽學院學報(社會科學版);2010年05期

6 蘇遲;;浙江省首次美術展覽會[J];美育學刊;2011年06期

7 朱亮亮;;“展示”與“傳播”——民國時期美術展覽會研究之新視角探析[J];藝術百家;2013年06期

8 ;上海和山西、福建、江西、貴州等省將于十月、十一月舉行美術展覽會[J];美術;1955年08期

9 ;全國工藝美術展覽會[J];美術;1955年10期

10 鮑·約\∷，

本文編號：1554134