【摘要】： 20世紀，西方現代藝術對中國乃至整個世界藝術發(fā)展的影響是不容忽視的。它發(fā)源于歐洲的中心，通過各種方式和途徑傳播到世界各地。在中國，開始只是一些零星的個人和媒體的介紹，影響是微弱的。但是到了20年代末，中國才爆發(fā)了聲勢較大的現代藝術運動。以林風眠在北京發(fā)起的“北京藝術大會”為前奏，然后是1928年以西湖國立藝專為依托的藝術運動社，繼而是1931年的決瀾社，再就是1934年中華獨立美術協會。在30年代的眾多藝術團體中，只有這三個團體對于現代藝術的宣傳在當時才造成了一定的影響。他們由于時代的要求或者個人興趣的發(fā)展而追求宣揚現代藝術，發(fā)起現代藝術運動，從而影響了一批人；他們以運動的方式把西方現代藝術流派從發(fā)源地傳播到中國的大地上，這些都是無可爭議的事實。但是，這些運動本身并不是一樣的組織和一樣的成員以及一樣的主張等等，而且成立的經過和時間都各不相同。也因此，這些藝術運動對西方現代派藝術的傳播過程及傳播效果也是不盡相同的。早期傳播學的奠基人，美國著名的政治學家，哈羅德·拉斯韋爾于1948年在其《傳播在社會中的結構與功能》一文中提出傳播過程：誰(Who)→說什么(Says What)→通過什么渠道(in Which Channel)→對誰(to Whom)→取得什么效果(With what effects)。簡稱“五W”模式。受傳播學的啟發(fā)，本文將西方現代派藝術在20世紀20-30年代通過各個現代藝術團體而進入中國的過程看作是一個傳播的過程，，將西方各現代派藝術作為被傳播的信息。對藝術運動社、決瀾社、中華獨立美術協會三大現代藝術傳播主體在傳播過程中的各要素進行梳理，然 后在這些梳理的基礎上對它們進一步的比較和分析，最后能在這些要素中得出 中國現代藝術團體在2卜30年代傳播的一般認識，即傳播模式。在傳播學的意 義上來理解、分析、認識三大現代藝術運動對西方現代派藝術傳播的異同和不 足之處，為闡釋現代藝術運動在中國的結局提供另一個佐證。
[Abstract]:In the 20 th century, the influence of western modern art on the development of art in China and the whole world can not be ignored. It originated in the heart of Europe and spread around the world in a variety of ways and means. In China, at first it was only sporadic personal and media presentations, and the impact was weak. But it was only in the late 1920s that China broke out a powerful modern art movement. "Beijing Art Congress" sponsored by Lin Fengmian in Beijing is the prelude, followed by the Art Movement Society of West Lake National College of Arts in 1928, then the 1931 Society of decision Lan, and the Chinese Independent Fine Arts Association in 1934. Of the many art groups in the 1930's, only these three groups had a certain influence on the propaganda of modern art at that time. Because of the demands of the times or the development of their personal interests, they pursued and propagated modern art and launched a modern art movement, thus affecting a group of people; they spread the western modern art schools from their birthplaces to the land of China by way of movement. These are indisputable facts. However, these movements themselves are not the same organization and the same members, the same ideas and so on, and the process and time of their establishment are different. Therefore, these artistic movements have different spreading process and effect to the western modernist art. The founder of early communication, the famous American political scientist, Harold Raswell, in 1948, in his article "the structure and function of Communication in Society", proposed the process of communication: who (Who) says what (Says What) does what through what channels (in Which Channel) can achieve what effect to whom (to Whom)? (With what effects).? Short for "five W" mode. Inspired by the theory of communication, this paper regards the process of western modernist art entering China through various modern art groups in the 2020s and 1930s as a process of communication, and regards the western modernist art as the transmitted information. Combing the elements of the three major modern art communication subjects in the process of communication, the Art Movement Society, the Zolan Society and the China Independent Fine Arts Association, However, on the basis of these combing, we further compare and analyze them. Finally, in these elements, we can get the general understanding of modern Chinese art groups in the 1930's, that is, the mode of communication. To understand and analyze the meaning of communication, Understanding the similarities and differences of the three modern art movements to the dissemination of western modernist art provides another evidence to explain the outcome of the modern art movement in China.
【學位授予單位】：四川大學
【學位級別】：碩士
【學位授予年份】：2003
【分類號】：J120.9

【引證文獻】

相關博士學位論文 前1條

1 鄭濤;民國前期（1912-1936）西方現代木刻在中國的傳播[D];中央美術學院;2007年

相關碩士學位論文 前1條

1 梁宜;二十世紀三十年代藝風社美術展覽研究[D];浙江大學;2011年

本文編號：2236914