【作者】 徐立；

【导师】 潘耀昌；

【作者基本信息】 上海大学 ， 美术学， 2011， 博士

【摘要】 本文试图讨论20世纪前期活跃在上海画坛的一群粤籍美术家在近现代中国新美术运动中的历史地位与影响。笔者意在研究这群美术家如何在多元文化碰撞、交融下,将东洋与西洋文化、上海城市文化与岭南文化融合于一身,通过他们的美术活动将当时的先进文艺以上海为平台,向全国传播,成为新美术运动的先驱。希望通过还原这段被遮蔽了的历史,给予新世纪中国美术的发展以启示与借鉴。论文由四大部分构成,包括:绪论、文献综述及历史背景、上海粤籍美术家在新美术运动诸领域的实践与探索、结论与启示等。首先,借鉴艺术社会学中涉及地域、文化、艺术三者间关系的原理,从跨文化研究及东西文艺思潮的角度界定本研究的范围。其次,通过梳理“二高一陈”在沪的活动,论证粤籍美术家以《真相画报》为宣传窗口,开创民国美术革新之先河。接着,通过评析这一时期的重要文献——陈抱一的《洋画运动过程略记》,论述上海粤籍西画家在中国洋画运动的先驱作用。第三,以木刻讲习会中的粤籍学员为切入点,探讨粤籍美术家在新兴木刻运动中的角色。同时,还探讨了20世纪前期粤籍美术家在沪上雕塑、水彩画、漫画及美术期刊等领域的先锋作用。最后,从文化认同出发,研究上海粤籍美术家所形成的美术活动网络,论证他们作为一个群体而存在的同一性,以及在新美术运动中的先锋性。此外,还从宏观上思考了民国早期外来艺术对新时期美术的影响。本文的创新之处在于:揭示了一段被遮蔽的美术史。本文在辨析“留欧美一流,留日二流”之说的基础上,借鉴西方美学史中探讨艺术发展规律的重要理论——泰纳的“种族、环境和时代”三因素说,将美术置身其产生的社会体系之中,从近代东西方文化角度出发看待这群粤籍美术家的产生及其美术活动的影响。结合西洋绘画在巴黎——东京——上海这三座城市中的发展路径,从美术教育模式、师承关系、创作主题、美术活动、艺术主张等方面探讨留日、留法派上海粤籍画家在中西融合过程中的探索。在此基础上,论证多元文化在沪上粤籍美术家身上的体现以及东西方文化交融通过这群美术家在20世纪前期新美术运动中所产生的引领作用。创新之二在于:针对20世纪前期上海粤籍美术家作为“群体”的质疑,论证其存在的可能性。在考证前人的研究基础上,结合作为文本文化的文献资料与作为图像文化的作品,运用艺术风格、美学以及跨文化比较等方法进行考证、分析,找出这些画家之间的共同点。虽然这群美术家创作题材、形态各异,但通过他们形成的美术活动网络,美术参与革命(技法上的革新)、探索现代美术教育模式等举措播撒艺术的种子。在此过程中,岭南文化固有的开拓精神和前卫意识以文化认同的方式在这群美术家身上得以体现,使他们成长为新美术运动的先驱,在现代美术传播过程中实现了自我价值。在文艺批评精神缺失的当下,在上海都市文艺走向现代化的今天,研究20世纪前期上海粤籍美术家在新美术运动中的先锋性,对于如何构建新世纪上海都市海派文艺的引领作用有着多重意义。值得我们从更深层面去思考、总结,以寄语当代艺术与文化、时代更紧密地结合。更多还原

【Abstract】 The aim of this thesis is to give insight into a group of active Cantonese (Yue) Artists at the beginning of 20th century in Shanghai from 1912 to 1937, regarding the establishment and contribution that they made to the Modern Art Movements. This article focuses on the influence of "multiculturalism". The background of the thesis combines the art of Chinese and Western cultures together with cultures of Shanghai and Lingnan. The thesis studies how these artists show their modernity in Shanghai in a specific historical time and spread the avant-garde culture and art all over the country through their artwork. Their artwork made them pioneers of the Modern Art Movements. This thesis hopes to uncover the authentic history of these artists. The revelation of the history of these artists can empower Chinese modern art. It can be a source of inspiration and a source of reference for today’s artists.This thesis consists of four sections: introduction, literature and historical background, activities of Cantonese artists in Shanghai during Modern Art Movements, conclusion and revelation.First, this thesis defines the scope of the study from the perspective of cross-cultural research methods, multi-cultures and art with the emphasis on sociological principles in relationship to geography, culture and art. Secondly, the article demonstrates a group of Cantonese artists who promoted a wave of innovation in art through the True Record in establishment of a new art form in 1910s. I analyze the important document written by Chen Baoyi in order to better understand the role of the Cantonese artists in Shanghai and the role they played in the Chinese Western-style Painting Movement. Third, the article discusses the Cantonese artist’s roles in the Modern Woodcut Movement. The article also discusses the roles other Cantonese artists played in various modern art fields, such as sculpting, painting, cartoons, art magazines, etc., from 1912 to 1937. Lastly, by studying the Cantonese artist’s cultural identity, the article shows their existence in the vanguard of the Modern Art Movements. By studying their network, we understand how their artworks were formed. In addition, the impact of foreign arts in 1912-1937 during early period of modern art will also be considered from a macro point of view.There are two innovative aspects of the thesis. First, it is to reveal a period that was obscure from art history. Based on analyzing the thoughts of“learning from Europe is better than that of Japan”, this thesis refers Taine’s three-pronged approach (race, milieu, and moment) to the contextual study of arts. It puts the art in the time it first appeared, and treasures the impact and contribution of the Cantonese artist to today’s Chinese and Western modern art culture. This thesis attempts to analyze the relationships of the Cantonese artist in Shanghai and how they were influenced by western art education. I accomplish this by comparing the creative theme, art activities and ideas of these artists, with how the influence of Western-style painting spread from Paris or Tokyo to Shanghai. I also explore the process of how they combined the multi-arts by comparing the painting styles of those who studied arts in Japan and France. This article shows how multi-cultures influence these artists. The article also reveals how cultural exchanging between East and West in the early 20th century gave birth to the Modern Art Movements.Second innovation lays in raising doubts on the existence of the Cantonese artists in Shanghai as a group. The thesis will also present evidence that shows that they really existed. Based on the textural research of previous studies, using artistic style, I analyze the Aesthetics and cross-cultural research method and reveals how similar these artists really were. I used the combination of the artist literature and their artworks to make the comparison. Although these artists created different themes with different forms, they were committed to a common goal to form a network of activities and spread modern art through art education. They achieved this through self-realization. Based on the research of the artist, it was revealed that the artists were very courageous and they had a pioneering spirit. They were also forward-thinking and influenced by the Lingnan Culture. The Cantonese artist uses Lingnan culture as a form of artistic cultural identity and made them pioneers of Modern Art Movements in the early 20th century.In an era of urban modernization of the arts, when it lacks literary criticism, the study of Cantonese artists and their activities in Shanghai at the beginning of the 20th century had tremendous meanings for the city. The study of Cantonese artist will help us better understand Shanghai art culture. We should view the study of Cantonese artist in Shanghai in a deeper level in order to better integrate contemporary art and culture.更多还原