抗战时期的“本土西行”与中国美术的现代化  

“Westward Journey”during the Chinese People's War of Resistance against Japanese Aggression and the Modernization of Chinese Art

作　　者：黄宗贤[1] 毛一茗 Huang Zongxian;Mao Yiming(Arts College,Sichuan University)

机构地区：[1]四川大学艺术学院

出　　处：《美术》2025年第4期62-70,共9页Art Magazine

基　　金：国家社科基金重大招标课题《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：“本土西行”是抗战时期内迁大后方的美术家们以写生采风为内容的具体行动。其直接动因并非美术革命,而是救亡图存。它希望通过溯源本土文化,来激发国族认同,鼓舞抗敌意志。这一蔚为大观的美术现象,继承“五四”革命余绪,以新民主主义革命文化理论为引领,从强化社会服务功能、关注现实生活、重构民族形式这三个方面,推动了中国式美术现代性的历史建构。The“westward journey”was a sketching activity of artists who moved to the rear area during the Chinese People's War of Resistance against Japanese Aggression(the War of Resistance),with an aim to saving the country,instead of carrying out an art revolution.It strengthened national identity and encouraged people to fight against the enemy by tracing the origin of traditional culture.As a continuation of the“May Fourth”Movement,this great art activity was guided by the cultural theory of the New Democratic Revolution,and promoted the modernization of Chinese art by strengthening functions of social services,emphasizing real life,and reconstructing national forms.

关 键 词：抗战美术 本土西行 现代化 大众化 民族化 

分 类 号：J120.9[艺术—艺术理论]