江山之助:国家景观视域下的天山意象重构  

The Help of Jiangshan:Reconstruction of the Tianshan Mountain Image from the Perspective of National Landscape

作　　者：潘超 Pan Chao(Institute for Advanced Study in Humanities and Social Sciences,Tsinghua University)

机构地区：[1]清华大学人文与社会科学高等研究所

出　　处：《美术》2023年第12期19-29,共11页Art Magazine

基　　金：国家社科基金《铸牢中华民族共同体意识研究专项》项目《边疆社会的空间意义与中华民族多元一体格局的现当代变迁研究》(项目编号:22VMZ014)的阶段性研究成果;清华大学“水木学者”计划支持(编号:2023SM213)。

摘　　要：在古史中,有关天山的记载往往与边防要塞、恶劣的气候环境和残酷的战争相关联。在中国古代诗歌中,通过对天山的描写和想象,构建出孤独荒凉的意象。而在20世纪30年代至40年代,艺术家赴西北新疆写生创作,其中天山主题作品与古史和诗歌中呈现的意象相异,并未表现荒凉寂寞的意境,而是呈现出天山具有壮丽性、英雄化、世俗化与奇幻多变的特点。在国家景观的视域中,艺术家所创作的天山图像及当时其他视觉材料共同重构天山意象,在民族救亡的时代背景下,作为自然的天山有助于构建包含国家形象的江山概念,而使天山成为国家景观之一。The Tianshan Mountains were always associated with border fortresses,harsh climates and cruel wars in ancient history,and were described and imagined to create an atmosphere of loneliness and desolation in ancient Chinese poems.However,when artists went to Xinjiang for sketching and creation during the 1930s and the 1940s,the Tianshan Mountains in their paintings were different from the aforementioned images.Instead of representing desolation and loneliness,the Mountains were spectacular,heroic,wonderful and people-oriented in theme-based artworks.From the perspective of national landscape,the Tianshan Mountains under the brush of artists and other visual materials at the time jointly presented a new image of the Mountains--in a time when people all fought to save the nation,the Tianshan Mountains as a natural landscape helped to establish the concept of country,including national image,making the Tianshan Mountains one of the national landscapes of China.

关 键 词：天山 天池 民族国家 边疆写生 司徒乔 

分 类 号：J205[艺术—美术]