“纹”以载道——20世纪三四十年代常书鸿的装饰艺术思想与油画民族化探索  

“Decoration” as a Way of Expression: Chang Shuhong's Thoughts on Decorative Art and Exploration of Nationalizing Oil Painting in the 1930s and 1940s

作　　者：杨洋 Yang Yang(Shanghai Academy of Fine Arts,the Shanghai University)

机构地区：[1]上海大学上海美术学院

出　　处：《美术》2024年第2期76-87,共12页Art Magazine

摘　　要：装饰艺术与油画语言的碰撞融合是20世纪西学东渐思潮在中国美术领域的独特映射,也是探寻民族美术变革与油画民族风格的切入点。本文主要围绕常书鸿20世纪三四十年代的油画创作,探寻其装饰艺术思想的渊源、油画创作中的装饰景观及形式语言,并在此基础上揭示其油画装饰语言与民族精神之间的复杂关系。希望为多维立体地理解“敦煌守护神”常书鸿在特定时期的油画民族化探索与艺术实践,以及其创作与世界美术汇流的特殊意义。In Chinese art,the collision and integration of decorative art and oil painting uniquely reflects the trend of introducing western thoughts into China in the 20th Century.It is also an entry point for exploring the transformation of national art and the national style of oil painting.With a focus on Chang Shuhong's oil painting creation in the 1930s and 1940s,this article explores the origin of his thoughts on decorative art and the decorative landscape and form language in his oil painting creation.On this basis,it reveals the complex relationship between the decorative language in his oil paintings and national spirits,in the hope to fully understand the exploration and artistic practice of nationalizing oil painting by Chang Shuhong,aguardian of Dunhuango,in a certain period,as well as the special significance of his creation being integrated into the art across the world.

关 键 词：常书鸿 装饰艺术 油画民族化 敦煌壁画 

分 类 号：J213[艺术—美术]