二十世纪四十年代吴作人西行写生与汉藏文化交流  

Wu Zuoren's Westward Sketching Journey and Han-Tibet Cultural Exchange in the 1940s

作　　者：李双 常福娟 LI Shuang;CHANG Fu-juan(Guangdong Polytechnic Normal University)

机构地区：[1]广东技术师范大学民族学院,广州510000

出　　处：《中华民族共同体研究》2023年第3期150-161,M0009,共13页Journal of the Chinese Nation Studies

基　　金：四川省社会科学重点研究基地康巴文化研究中心2022年度一般项目“本土西行与文化交融——民国时期吴作人与汉藏文化交流研究”(KBYJ2022B002)的阶段性成果。

摘　　要：艺术创作的民族化、当代化和中国化,是推动艺术事业向前发展和壮大中国文化的动力。全面抗战时期,画家吴作人在美术界西行写生的时代召唤下,两次前往藏地写生,在个人美术创作中汲取了藏地文化养分,进行民族画创作,不仅改变和丰富了自己的创作风格,还通过举办一系列画展和交流,加深了内地民众和国外人士对藏地文化的认识和喜爱。吴作人的许多藏地绘画作品在传播中逐渐成为多民族共享的中华文化符号,对外展示了中华民族团结形象和整体面貌,为铸牢中华民族共同体意识提供了真实案例。The nationalization,modernization,and Sinicization of artistic creation are the motivation for pushing forward the further development of art and advocating Chinese culture.During the Comprehensive War of Resistance Against Japanese Aggression,the painter Wu Zuoren answered the art community's call of the times and went twice westward to Tibet for sketching;these trips enriched his artistic creation with Tibetan culture and inspired him to some national paintings;he not only changed and diversified his painting style,but also held a series of exhibitions and communication events,which deepened the understanding and love for Tibetan culture among people from home and abroad.Many of his Tibetan paintings,as they spread across China,have gradually become symbols of Chinese culture shared by multiple ethnic groups;these Tibetan paintings not only demonstrate the united image and general status of the Chinese nation but also serve as vivid cases for the study of fostering a strong sense of community for the Chinese nation.

关 键 词：吴作人 西行写生 《打箭炉少女》 汉藏交流 文化交融 

分 类 号：J203[艺术—美术] K26[历史地理—历史学]