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題名 | 「亞波羅」與藝術運動社=The Apollo Journal and Art Movement Society |
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作 者 | 劉瑞寬; | 書刊名 | 興大歷史學報 |
卷期 | 14 2003.06[民92.06] |
頁次 | 頁105-132 |
分類號 | 909.208 |
關鍵詞 | 亞波羅; 藝術運動社; 林風眠; 林文錚; 李朴園; Apollo; Art movement society; Lin Feng-mian; Lin Wen-cheng; Li P'u-yuan; |
語文 | 中文(Chinese) |
中文摘要 | 民國初期林風眠個人的美術教育事業,可以說是奠基在杭州國立藝術院,當時他聚集一群留法、留日的藝術家,共同實踐他們對中國現代藝術運動的理念及主張,文中將分析他們在該校發行的《亞波羅》中的論著,以及籌劃藝術運動社的各項活動。《亞波羅》所刊載的文章,以林風眠、林文錚和李釙園三人最為重要,林風眠純粹由創作出發,提出他個人「調和東西」的主張,即輸入西方美術的優點,另一方面則整理中國舊有的藝術,雙管齊下以追求中國新藝術的產生。而林文錚則試圖引介希臘文明,認為未來中國藝術成果所體現的價值,必須是建基在詩歌、戲劇、繪畫、雕刻,乃至於建築各方面,而不是偏重於任何一方。至於,李釙園從唯物史觀切入中國藝術史的研究,強調物質文明的重要性,他批判文人畫逃離自然的想法,希望藝術家能夠回應現代物質文明的發展,專注於外在形象的描繪。藝術運動社的活動則展現他們具體的創作成果,該社曾舉辦過四次繪畫展覽會,經由作品來證明他們的藝術主張,體現的精神有二點,一是作風不雷同,無論章法、取材或是色彩的應用,各有面目;二是富於嘗試的精神,特別在林風眠、吳大羽、蔡威廉等人的作品中,表現得最為清楚。 |
英文摘要 | The fine arts educational efforts of the early Republican artist Lin Feng-mian were founded at the Hangchow National Art Academy, where Lin gathered together a group of artists educationed in France and Japan to implement their notion of a modern Chinese art movement. The present paper analyzes the essays published by these artists in the academy's journal Apollo, as well as the activities of their Art Movement Society. Of the essays published in the Apollo, those by Lin Feng-mian, Lin Wen-cheng, and Li P'u-yüan are the most important. Lin Feng-mian wrote from a purely creative perspective, advocating the blending of Eastern and Western art. He noted the advantages of integrating the fine arts of the West while simulateously reordering the traditional arts of China, thereby establishing the two channels which would fuel the production of the new Chinese art. Lin Wen-cheng sought to borrow from the model of Greek civilization, believing that in the future, Chinese artistic achievement would be founded in the diverse fields of poetry, drama, painting, carving, and even architecture, rather than arising from a single given media. Li P'u-yüan approached the history of Chinese art from a materialist perspective, emphasizing the importance of material civilization and criticizing literati painting's notions of withdrawing from nature. He hoped that artists would be able to reflect on the development of modern material civilization and focus on the description of outer forms. The activities of the Art Movement Society reveal the concrete creative endeavors of the artists. The society held a total of four painting exhibitions, the content of which aimed to demonstrate their theoretical positions on art. The spirit of these exhibitions was two-sided: One, they reflect an effort at stylistic diversity, as seen in the distinctive compositional techniques, media, and colors ued by each artist. Two, they were experimental, as seen most clearly in the works of such artists as Lin Feng-mian, Wu Ta-yü, and Ts'ai Wei-lian. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。