屋岛夜之梦:日本全景画艺术语言的再构建  

The Dream of Yashima Night: Reconstructing the Artistic Language of Japanese Panorama

作　　者：乐丽君(文/图) 唐诗尧(文/图) Le Lijun;Tang Shiyao

机构地区：[1]上海大学上海美术学院

出　　处：《公共艺术》2022年第5期94-101,共8页Public Art

摘　　要：全景画适合表现重大历史事件,具有审美和大众传播的社会功能。18世纪末,全景画馆兴起于欧洲,曾一度盛行西方,成为最初大众欣赏艺术媒介的公共综合场所。本文以日本“后物派”代表艺术家保科丰巳在2022年濑户内海国际艺术节中创作的与“屋岛屋”项目相结合的“屋岛夜之梦”全景画作品为例,溯源全景画的时代意义,并思考当代艺术繁荣的今天,公共艺术回归传统艺术语言创作的意义。Panorama painting is suitable for representing major historical events,and has social functions of aesthetic and mass communication.At the end of the 18th century,the panorama gallery emerged in Europe and was once popular in the West,becoming the first public comprehensive place for the public to appreciate the art.This article takes the panorama work of "The Dream of Yashima Night",a component of the "House of Yashima" project,which was created in 2022 Setouchi Triennale by the artist Hoshina Toyomi of Japan’s "Post mono School" as an example,to trace the significance of the panorama painting in times,and thinking about the meaning of public art returning to traditional art language creation in today s prosperous contemporary art.

关 键 词：全景画 第五届濑户内海国际艺术节 “屋岛屋”项目 保科丰巳 公共艺术 

分 类 号：J0[艺术—艺术理论]