本文選題：逆境 + 重生　； 參考：《江西社會(huì)科學(xué)》2017年09期

【摘要】：中國(guó)古代歷史中的遺民與遺民畫家主要集中在元明清之際,伴隨著朝代更迭而層出不窮。作為畫家所需要的來(lái)源于生活的藝術(shù)素材卻被國(guó)家滅亡、自身生存危機(jī)的現(xiàn)實(shí)境遇所替代,抉擇是遺民畫家首要面臨的問(wèn)題,出仕和不仕甚至成了評(píng)判人格的標(biāo)準(zhǔn)。本文旨在梳理中國(guó)古代遺民畫家在亡國(guó)背景下,面臨艱難處境所表現(xiàn)出的繪畫藝術(shù)觀念,從而了解他們?cè)谀婢持忻糟�、成長(zhǎng)與重生的精神訴求。作為一個(gè)藝術(shù)群體,他們?cè)谡瘟?chǎng)、人生觀、創(chuàng)作手法上有著近似的一致性,這就可能引發(fā)一門新的學(xué)科,即"遺民群體文化學(xué)"的深入研究。
[Abstract]:In ancient Chinese history, the painters and relic painters mainly concentrated in the Yuan, Ming and Qing dynasties, along with the change of dynasties. As the art material which the painter needs from the life but is replaced by the reality situation which the country perishes and the survival crisis, the choice is the most important problem faced by the painters, and even becomes the criterion of judging personality. The purpose of this paper is to sort out the artistic conception of Chinese ancient painters facing the difficult situation under the background of national subjugation, so as to understand their spiritual demands of bewilderment, growth and rebirth in adversity. As an art group, they have similar consistency in political standpoint, outlook on life and creative techniques, which may lead to a new subject, that is, the in-depth study of "the cultural studies of the bereaved group".
【作者單位】： 西安科技大學(xué)藝術(shù)學(xué)院;
【基金】：國(guó)家社科基金藝術(shù)學(xué)青年項(xiàng)目“漢唐中外美術(shù)交流史”(16CF164)
【分類號(hào)】：J203
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本文編號(hào)：1818216