本文選題：1938年 + 國家　； 參考：《中國美術(shù)學(xué)院》2013年博士論文

【摘要】：國家與藝術(shù)家的關(guān)系是藝術(shù)史上的基本命題之一。放在中國現(xiàn)代美術(shù)史的語境中，特別是放在抗日戰(zhàn)爭初期交戰(zhàn)國雙方的跨語境背景下，國家與藝術(shù)家的關(guān)系顯得尤為突出。本文以1938年作為考察中國現(xiàn)代美術(shù)史的歷史分期點，而不是通常的1949年，正是基于這一關(guān)鍵命題的現(xiàn)代釋讀。而構(gòu)成這一釋讀的藝術(shù)史現(xiàn)象，是1938年8、9月間在武漢由著名劇作家田漢主持，以及王式廓、李可染等十余位畫家集體創(chuàng)作的黃鶴樓大壁畫。這幅大壁畫的創(chuàng)作現(xiàn)場，不僅見證了民族國家與藝術(shù)家之間緊密關(guān)系的確立，也預(yù)示了信奉自由主義和個人主義的現(xiàn)代藝術(shù)的重大轉(zhuǎn)型�，F(xiàn)代美術(shù)運動的代表人物、決瀾社畫家倪貽德在這幅象征著國家主義和集權(quán)主義的大壁畫中的出場和退場，提供給我們一個極佳的視角，，以此來考察國家與藝術(shù)家之間全新關(guān)系的復(fù)雜生成過程。圍繞著這幅壁畫的制作，本文從武漢的國民政府政治部三廳、倪貽德游學(xué)日本的歷史背景、抗戰(zhàn)初期中國大陸的壁畫風潮、中日之間的宣傳戰(zhàn)以及孤島時期洋畫運動的余續(xù)等五個部分。本文以跨語境的視野重構(gòu)這段至為重要但卻被歷史敘述所忽視的轉(zhuǎn)折點，并從世界藝術(shù)史的范圍，深化對導(dǎo)致中國現(xiàn)代美術(shù)這一重大轉(zhuǎn)折的各種成因的總體認識。
[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.
【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：J218.6;J120.9

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