抗战时期乡愁的视觉表征与叙事——兼论“乡愁美术”研究范式的建构  

Visual Representation and Narrative of Nostalgia During the Chinese People's War of Resistance against Japanese Aggression:Also on the Development of “Nostalgia Art” Research Paradigm

作　　者：黄宗贤[1] 谭榜眼 Huang Zongxian;Tan Bangyan(Arts College,Sichuan University)

机构地区：[1]四川大学艺术学院

出　　处：《美术》2025年第2期70-79,共10页Art Magazine

基　　金：2020年度国家社科基金重大项目《中国抗战艺术史(多卷本)》(项目编号:20&ZD051)的阶段性研究成果。

摘　　要：抗战的全面爆发改变了中国现代艺术的发展轨迹,为现实而艺术成为主流声音。但是,现实并没有完全将艺术规约到一种模式之中。文化艺术界依然在特定的语境中,从实践和理论两种形态,持续着中国艺术现代性的探索与讨论。目前,学界对于这一时期艺术的研究仍多聚焦于抗战宣传、现实题材与本土化等热点话题,而对于战时漂泊流亡艺术家的“乡愁”体验与艺术表达关注不够。本文以“乡愁”为切入点,希望能够更加立体地探究抗战背景下,艺术家“个人遭遇”与“家国情怀”之间的情感交织,从而明了艺术家如何借助“乡愁”主题,在国族集体概念之下维护自我的连续性。以乡愁视角反观抗战时期中国美术的多维表达,有助于探索中国现代艺术发展的多元面向,并为该领域的研究提供一条新的路径。The outbreak of the Chinese People's War of Resistance against Japanese Aggression(the War of Resistance) changed the development of modern Chinese art,with art for reality becoming a mainstream.However,art was not confined to only one model.Instead,cultural and art circles continued to explore and discuss the modernity of Chinese art in practice and theory.At present,the academic research on art during this period still focuses on hot topics such as the publicity of the War,realistic themes and localization,with little attention paid to the “nostalgia” and artistic expression of displaced artists during the War.This article takes “nostalgia” as an entry point,and hopes to explore artists' interwoven emotions of “personal experience”and “love for country” in a more comprehensive way,so as to understand how artists maintained the continuity of their identities with “nostalgia” while keeping their country in mind.Looking back at the various expressions of Chinese art during the War from the perspective of nostalgia will help explore the diverse aspects of modern Chinese art development and provide a new path for research in this field.

关 键 词：抗战美术 乡愁美术 视觉表征 视觉叙事 

分 类 号：J120.9[艺术—艺术理论] K265[历史地理—历史学]