庞薰琹早期现代主义艺术图像研究--国际前卫艺术图式与中国现代性融合的探索  

A Study on Pang Xunqin’s Early Modernist Images——Exploring the possibility of Chinese Modernity Expressed through International Avant-garde Schema

作　　者：魏莱 Wei Lai

机构地区：[1]武藏野美术大学

出　　处：《当代美术家》2023年第1期38-45,共8页Contemporary Artists

摘　　要：本文研究了艺术家庞薰琹于20世纪30年代上海时期创作的现代主义艺术作品,并指出它们与前卫艺术的关联。长期以来受西方现代主义艺术形式启发的中国现代艺术作品备受“形式主义”的批判,因此少有针对庞薰琹在20世纪30年代的现代主义艺术作品的详细研究,从而正确指出这些作品与国际前卫艺术流派之间的联系。本文详论了当时的国际前卫艺术风潮,尤其是构成主义和与立体主义艺术家莱热的机械美学对庞薰琹的影响,指出正是这些前卫艺术所提供的图式帮助画家找到了表现20世纪30年代中国现代社会问题与危机的方法,甚至画家的意识形态也与前卫艺术有所关联。因为他在20世纪30年代所接触到的构成主义和机械美学的研究,在当时的上海出版物语境中,明确地与左翼思想相联系在一起。This paper examines the avant-garde artworks of Chinese artist Pang Xunqin,who moved to Shanghai in the 1930s after studying in Paris.Due to the longstanding"Formalism"criticism on Chinese modern art works inspired by Western modern forms,there are few studies that have conducted a detailed investigation and interpretation of Pang's modernist artworks in the 1930s,neither have art historians correctly pointed out the connection between these works and international avant-garde art paradigm.This paper discusses in detail the strong influence of various international avant-garde art trends on Pang at that time,especially Constructivism and the cubist Fernard Léger's mechanical aesthetics,pointing out that the attention to these avantgarde art forms had helped Pang to work out his methods on representing social problem and crisis of modern China in the 1930s,and even shaped his ideology to a certain extent.For the study of Constructivism and mechanical aesthetic forms to which he had access was ostensibly associated with left-wing thoughts in Shanghai publication context by that time.

关 键 词：庞薰琹 20世纪30年代 前卫艺术 构 成主义 费尔南多·莱热 左翼美术 

分 类 号：J05[艺术—艺术理论]