资本与习性:现代漫画艺术的心理区隔与审美选择——论中国连环画与国外漫画的历史分野  

Capital and Habits: The Psychological Division and Aesthetic Choice of Modern Comic Art——On the Historical Distinction Between Chinese Strip Pictures and Foreign Comics

作　　者：徐秀明 XU Xiu-ming(Institute of Arts Education,Hangzhou Normal University,Hangzhou 311121,China)

机构地区：[1]杭州师范大学艺术教育研究院,浙江杭州311121

出　　处：《美育学刊》2022年第5期43-51,共9页Journal of Aesthetic Education

基　　金：国家社会科学基金项目“‘文化研究’视野下的中国动漫”(09CZW062)的研究成果。

摘　　要：中国连环画一度繁荣,但在20世纪后期世界漫画普遍进行形式革新之际却未能与时俱进,终致落伍。其中原因颇为复杂,不可简单归结为艺术场域过于恶劣。从布尔迪厄的艺术社会学理论来看,美、日等国的漫画艺术能够突破传统社会的桎梏,主要原因在于华特·迪士尼、手冢治虫等“宗师”充分利用自身文化资本主动争取,为现代漫画艺术开拓出新的发展路径。相形之下,中国连环画“大师”们艺术造诣虽高,但思维模式、性情倾向等“习性”偏于保守,不善于根据自身条件、处境选择行为策略争夺场域的主导位置与合法性。艺术家除技艺精进外,还应追求对世界与自我的深层认知。Chinese comic strips were once prosperous, but in the late 20 th century, when comics in various countries were generally innovating in form, they failed to keep pace with the times and eventually fell out of fashion. The reasons are quite complicated and cannot be simply attributed to the fact that the art field is too bad. From the perspective of Bourdieu’s art sociology theory, the comic art of the United States, Japan and other countries could break through the shackles of traditional society, the main reason lies in the fact that “grandmasters” such as Walt Disney and Tezuka Osamu made full use of their cultural capital to strive for development initiative, and opened up a new development path for modern comic art. In contrast, although the “masters” of Chinese comic strip have high artistic attainments, their “habits” such as thought patterns and temperament tendencies are conservative, and they are not good at choosing behavior strategies according to their own conditions and situations to compete for the dominant position and legitimacy of the field. In addition to improving skills, artists should also pursue a deep understanding of the world and self.

关 键 词：中国连环画 现代漫画 区隔 习性 文化资本 

分 类 号：J218.4[艺术—美术] J218.2