桂林抗战绘画的整体格局与主题特征  

The overall Situation of Painting and theme during the anti-war Period of Guilin

作　　者：杨灵敏[1] 

机构地区：[1]河北大学艺术学院,河北保定071000

出　　处：《艺术探索》2015年第2期29-33,共5页Arts Exploration

基　　金：2012年度文化部文化艺术科学研究项目"西部开发与边疆民族情境中的现当代广西美术文化研究"(12DF24)

摘　　要：相对于民国初期中国新美术运动的三大中心而言,桂林由于地理位置偏离当时美术中心区域,受外来艺术思潮刺激与影响较弱,广西画坛相对沉寂。抗战的爆发使桂林画家数量激增,成为当时三大美术中心城市之一。抗战也使这些来桂画家的创作观念和创作题材发生了重要变化,抗战题材作品或革命现实主义作品成为美术界主流。Comparing to the early of the republic of China in terms of three centers of the new art movement,Guilin deviated from the art center due to its geographical position,has less affected by the artistic trend and external stimulation,and atmosphere of paintings in Guangxi are relatively low.The outbroak of the Anti-Japanose War made proliferating of Guilin painters which became one of the three largest fine arts center cities at that time.The war also made these painters who came to Guangxi changed their concept and subject greatly,and the Anti-Japanese War painting works become a mainstream circle or revolutionary realism ones.

关 键 词：抗战时期 桂林 绘画艺术 整体格局 主题特征 

分 类 号：J209.2[艺术—美术]