塔中的十字街头:北京艺术大会期间林风眠“社会艺术化”的曲折探索  

Cross Street in Tower:Lin Fengmian’s Tortuous Exploration of "Giving Society Artistic Features" during the Beijing Art Conference

作　　者：冯嘉安 Feng Jia'an

机构地区：[1]中山大学艺术学院

出　　处：《美术》2023年第3期71-78,70,共9页Art Magazine

基　　金：2020年度国家社科基金艺术学重点项目“中国现代革命题材美术作品研究”(批准号:20AF007)的阶段性研究成果。

摘　　要：20世纪20年代,在鲁迅译介了厨川白村的《出了象牙之塔》和《往十字街头》等作品后,中国文艺界开始频繁地使用“象牙之塔”和“十字街头”这对矛盾的词汇。1927年,由北京艺专校长林风眠主张举行的北京艺术大会,就以“提倡民间的表现十字街头的艺术”为口号。但林风眠此时的“社会”“大众”“民间”等观念,仍是象牙塔中理想化的想象,虽然力倡“艺术走向民间”,但“为艺术而艺术”的理想仍在其观念中根深蒂固,是其艺术创作的逻辑起点。In the 1920s,the literature and art circle in China began to frequently use two contradictory words— "ivory tower" and "cross street",after Lu Xun translated Leave the Ivory Tower and To the Cross Street,books written by Kuriyagawa Hakuson.In1927,Lin Fengmian,president of the Beijing National Art College,held the Beijing Art Conference,with "promoting cross-street folk art" as the slogan.However,Lin’s concept of "society", "people" and "folk" back then was still an idealized concept in ivory tower.Although he advocated "pursuing people-oriented art",the idea of "art for art’s sake" was deeply rooted in his mind and was a logic inspiration for his creation.

关 键 词：林风眠 象牙之塔 十字街头 北京艺术大会 

分 类 号：J120.9[艺术—艺术理论]