“新国画”与南洋华人社会——高剑父20世纪30年代的南洋巡展及其接受语境  

“New Chinese Painting”and Chinese People in Southeast Asia:Gao Jianfu’s Exhibition Tour in Southeast Asia in the 1930s and its Acceptance

作　　者：纪泽宇 吴天跃 Ji Zeyu;Wu Tianyue(School of Arts and Humanities,Guangzhou Academy of Fine Arts)

机构地区：[1]广州美术学院艺术与人文学院

出　　处：《美术》2023年第8期58-68,共11页Art Magazine

基　　金：广东省哲学社会科学规划共建项目《海上丝绸之路视野下的五代宋以降广东佛教美术研究》(项目编号:GD20XYS40)的阶段性研究成果。

摘　　要：1930年11月至12月,岭南画派代表画家高剑父途经南洋前往印度考察,其间在新加坡、吉隆坡等地先后举办画展。这次巡展是南洋华人社会中最早具有历史叙事意识的展览实践之一,对于曾参与过辛亥革命事业的高剑父本人和南洋华人群体都具有特殊意义。比起对于中国传统绘画比较陌生的印度画家们,南洋华人更能理解高剑父的良苦用心。本文利用国内、南洋诸报刊和高剑父书信手札,以及新加坡与马来西亚华人美术研究等文献资料,剖析高剑父南洋巡展中“并置古今名画”的展示策略,考释南洋华人社会对这次展览的评论和接受语境。通过历史爬梳、剖析高剑父、南洋华人社会与中国近现代海外美术展览之间的流动性知识生产与跨文化对话。From November to December 1930,Gao Jianfu,a representative painter of the Lingnan School,visited India via southeast Asia,during which he held art exhibitions in Singapore City,Kuala Lumpur and other places.As one of the earliest exhibitions in southeast Asia that depicted historical events,this exhibition tour was of special significance for Gao Jianfu himself,who participated in the cause of the 1911 Revolution,and Chinese people in southeast Asia;therefore,the Chinese people were more able to understand Gao’s intentions than Indian painters who were unfamiliar with traditional Chinese paintings.This paper,by analyzing newspapers and periodicals in China and southeast Asia,Gao Jianfu’s letters and notes and documents on Chinese art studies in Singapore and Malaysia,explores Gao’s exhibition strategy of“giving equal importance to ancient and modern famous paintings”in his exhibition tour,and examines comments and acceptance of Chinese people in southeast Asia.Based on relevant historical records,this paper analyzes the constant generation of knowledge and cross-cultural exchanges among Gao Jianfu,Chinese people in southeast Asia and modern overseas art exhibitions of China.

关 键 词：高剑父 新国画 岭南画派 南洋美术 美术交流 

分 类 号：J212-28[艺术—美术]