局外人——孙宗慰蒙藏题材绘画中的背影  

An Outsider:Figures Depicted from Behind in Sun Zongwei's

作　　者：盛葳 Sheng Wei(Sichuan Fine Arts Institute;Art Magazine)

机构地区：[1]四川美术学院 [2]《美术》杂志社

出　　处：《美术》2024年第9期84-91,共8页Art Magazine

摘　　要：1941年至1942年,孙宗慰随张大千赴敦煌等地考察和临摹壁画,其间及返渝后创作了一批少数民族题材作品,包括一些“标本”式的背影,既展现出与《皇清职贡图》等图像的历史渊源,又显示出现代人类学和民族学科学调查的特点。这些视觉“标本”被他进一步运用到构图复杂的群舞题材创作中,并常常在舞者背影之后设立一道观众人墙,艺术家本人则退居现场更远之处,成为孤独背影般的局外人。抗战背景下知识分子对“中华民族是一个”的热忱与民族理想之未尽现实交织冲突,既见证了孙宗慰命运多舛的人生,也见证了风云变幻的时代。Sun Zongwei accompanied Zhang Daqian to copy murals in their on-the-field investigations in Dunhuang and other places from 1941 to 1942.During this period and after coming back to Chongqing,he created a number of paintings themed ethnic minority groups,including some"specimen"-like figures depicted from behind,which demonstrated not only the historical origin of Portraits of Periodical Offering of the Imperial Qing,but the characteristics of modern anthropological and ethnological scientific investigations.These visual"specimens"were further used in his group dance-themed paintings with complex composition.In these paintings,a row of spectators can always be seen after dancers depicted from behind,making the painter himself far away from the scene and thus a lonely outsider.During the Chinese People's War of Resistance against Japanese Aggression,the conflict between intellectuals'patriotism of"one Chinese nation"and the reality of unfulfilled national ideals not only witnessed setbacks experienced by Sun Zongwei but an ever-changing era.

关 键 词：边疆旅行写生 少数民族题材美术 视觉民族志 

分 类 号：J205[艺术—美术]