本文選題：民國(guó)　切入點(diǎn)：時(shí)期　出處：《中央美術(shù)學(xué)院》2007年博士論文　論文類型：學(xué)位論文

【摘要】： 民國(guó)時(shí)期，傳統(tǒng)雕塑日益衰落，，在以“師夷之長(zhǎng)”為日的的留學(xué)大潮中，一批抱有藝術(shù)理想的年輕人赴法國(guó)、意大利、比利時(shí)、日本、美國(guó)等國(guó)家學(xué)習(xí)西方雕塑。他們回國(guó)以后，通過雕塑創(chuàng)作、創(chuàng)辦雕塑系(科)、譯介西方雕塑文獻(xiàn)和資料，成為現(xiàn)代雕塑的拓荒者，他們亦成為中國(guó)第一批雕塑家。這些年輕雕塑家憑借從國(guó)外學(xué)到的寫實(shí)雕塑技法，塑造名人肖像、創(chuàng)作紀(jì)念碑式雕塑，使雕塑進(jìn)入上層社會(huì)和城市公共空間，使已經(jīng)不是藝術(shù)主流的西方學(xué)院派寫實(shí)雕塑成為中國(guó)現(xiàn)代雕塑的“母體”。國(guó)民政府成立之后，社會(huì)精英人士對(duì)城市發(fā)展、政府形象塑造有諸多設(shè)想，盡管這些設(shè)想未能全部付諸實(shí)施，但也為公共雕塑的發(fā)展提供了一些發(fā)展機(jī)遇。此后，抗日戰(zhàn)爭(zhēng)爆發(fā)，反映戰(zhàn)爭(zhēng)題材的雕塑作品多有出現(xiàn)，與名人雕像相比，這些作品的題材因與國(guó)家存亡密切相關(guān)，引起了社會(huì)的更大關(guān)注。解放戰(zhàn)爭(zhēng)時(shí)期，國(guó)民黨的一黨專政和貪污腐敗引起了社會(huì)不滿，反映民生疾苦、渴望自由的作品多有出現(xiàn)。同時(shí)，國(guó)統(tǒng)區(qū)的左翼文藝思潮的興起以及解放區(qū)文藝政策的確立使“農(nóng)”“工”題材作品也嶄露頭角。 本論文以民國(guó)時(shí)期的現(xiàn)代雕塑為研究對(duì)象，期望通過歷史材料的釣沉索隱，通過對(duì)“歷史背景”的構(gòu)畫，揭示現(xiàn)代雕塑產(chǎn)生的歷史契機(jī)，討論雕塑家出國(guó)學(xué)習(xí)的個(gè)人動(dòng)機(jī)和成行機(jī)緣，在中西藝術(shù)比較的框架中，透視雕塑家在國(guó)外的學(xué)習(xí)情況和藝術(shù)創(chuàng)作情況，以及他們?cè)趪?guó)外環(huán)境中對(duì)中西雕塑的反思。留洋雕塑家是民國(guó)現(xiàn)代雕塑的最早創(chuàng)作者，筆者從“‘雕塑家’的出現(xiàn)、‘雕塑家’的多重身份、雕塑介入現(xiàn)實(shí)生活、雕塑風(fēng)格的民族化”等方面入手，探究“現(xiàn)代雕塑的出現(xiàn)和發(fā)展”，并以此為基礎(chǔ)，研究現(xiàn)代雕塑和公共空間以及展覽的關(guān)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.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2007
【分類號(hào)】：J309.2

【共引文獻(xiàn)】

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本文編號(hào)：1629668