“文明”的雕刻:“一战”华工战壕艺术的传统意蕴  

Carving"Civilization":The Traditional Implications of Trench Art by Chinese Laborers in World War I

作　　者：杨位俭[1,2] 李玥融 YANG Weijian;LI Yuerong

机构地区：[1]上海大学,上海200444 [2]复旦大学,上海200433

出　　处：《上海视觉》2024年第2期14-21,共8页Shanghai Vision

基　　金：国家社科基金项目“海内外一战华工书写文献整理与研究”(20BZW178)阶段性成果。

摘　　要：“一战”赴欧华工在做工之余,曾制作了相当数量的战壕艺术品(Trench Art),因其特有的东方风格而受到欧洲人的喜爱,它们以馈赠礼品或艺术商品方式流入欧洲家庭和当地社会。区别于欧洲战壕艺术多为纪念战争标志性事件而制作的特点,华工战壕艺术作品更多采用中国古典符号和民间元素,如吉祥纹、古诗词、神话传说中的人物形象以及龙图腾等,在跨文化语境中,体现了东方文明对战争之物独特的雕刻与重塑,凝结了和合、贵生的中国传统文化意蕴。Chinese laborers(CLC)who went to Europe in World War I produced a considerable number of trench art pieces during their breaks.Chinese trench art was loved by Europeans due to its unique Eastern style,flowed into European families and local societies as gifts or artistic goods.Unlike European trench art,which often serves as a symbolic production of war commemoration,Chinese laborers trench art adopts more Chinese classical symbols and folk elements,such as auspicious patterns,ancient poetry,mythological figures,and dragon totems.In a cross-cultural context,it reflects the unique carving and reshaping of war objects by Chinese civilization,condensing its traditional cultural spirit of harmony and auspiciousness.

关 键 词：“一战”华工 战壕艺术 和合 贵生 

分 类 号：J305[艺术—美术] K151[历史地理—历史学]