民族艺术的构建:20世纪印度尼西亚现代绘画的变迁  

The Construction of National Art:The Evolution of Modern Painting in Twentieth-Century Indonesia

作　　者：李伊晴 Yiqing Li

机构地区：[1]澳门大学艺术与设计系,中国澳门999078

出　　处：《世界民族》2024年第4期65-79,共15页Journal of World Peoples Studies

摘　　要：印度尼西亚现代绘画艺术萌芽于20世纪早期的反殖民运动,并以视觉语言的方式参与并影响了印尼民族文化现代化的进程。本文通过梳理印尼现代绘画理念和风格的演变、探究其背后的社会动因与国际政治文化语境,呈现印尼民族主义绘画发展的三个重要历史阶段,即20世纪30年代印尼本地画家对“美丽的印度群岛”式殖民风景画的批判;20世纪40年代在日本“大东亚共荣圈”的假象与欧洲殖民侵略的余中崛起的现实主义绘画;20世纪50年代共和国初期的绘画艺术的多元化与制度化,以及艺术的外交价值。本文的基本观点是,印尼绘画艺术的理念和风格在不同时期虽有所差异,但它并不是被动回应社会变革的结果,也不是被异化了的政治工具,其自身具有艺术自主性和延续性,并在与多国文化互动的过程中丰富了印尼民族艺术的内涵。印尼绘画艺术的多个维度一一与民族独立运动的深度弥合、对本土传统艺术的批判与继承、对西方艺术的吸纳与反思、对艺术的社会价值之追求、与世界艺术的广泛互动等——不仅定义了它本身的现代性,也为我们理解亚洲现代艺术发展之共性和复杂性提供了一个独特的视角。The modern painting art of Indonesia originated from the anti-colonial movement in the early 20^(th) century,and participated in and influenced the modernization process of Indonesian national culture by means of visual language.By investigating the evolution of concepts and styles of modern Indonesian painting and exploring the social motivation behind it and the international political and cultural context,this paper presents three important historical stages of the development of Indonesian nationalist painting,namely,the criticism of the colonial"Mooi Indies"landscape painting genre by local Indonesian painters in the 1930s;the rise of realistic painting from the illusion of Japan's Greater East Asia Co-prosperity Sphere and the embers of European colonial aggression in the 1940s;and the diversification and institutionalization of the art of painting as well as the pivotal role it played in culture diplomacy in the early Republic of the 1950s.The basic point of view of this paper is that although the concept and style of Indonesian painting art have been varied in different periods,it is not the result of passive response to social changes,nor is it an alienated political tool.It has its own artistic autonomy and continuity,and has enriched the connotation of Indonesian national art in the process of interacting with various cultures.The multi-dimensional nature of Indonesian painting art-the deep bridging with the national independent movement,the criticism and inheritance of local traditional arts,the absorption and reflection of Western art,the pursuit of social significance of art,and the extensive interaction with global arts-not only defines its own modernity,but also provides a unique perspective for us to comprehend the commonality and complexity of the development of Asian modern art.

关 键 词：风景画 现实主义绘画 印度尼西亚民族绘画 艺术外交 

分 类 号：J23[艺术—美术]