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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/69539

    Title: 抗戰時期藝術家的邊疆之旅:龐薰琹、王子雲、吳作人個案研究;Artists in wartime: A case study of Pang Xin-qin, Wang Zi-yun, and Wu Zuo-ren
    Authors: 洪婉馨;Hung,Wan-hsin
    Contributors: 藝術學研究所
    Keywords: 龐薰琹;王子雲;吳作人;西行寫生;對日抗戰;國立中央博物院籌備處;教育部西北藝術文物考察團;建設西部;Pang Xun-Qin;Wang Zi-Yun;Wu Zuo-Ren;the preparatory department of the National Central Museum;the Northwest Art and Cultural Relics Expedition;The Second Sino-Japanese war;the movement of going west;constructions in western China
    Date: 2016-01-28
    Issue Date: 2016-03-17 20:53:12 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 1937年7月,盧溝橋事變開啟了長達八年的中日戰爭,全國上下被迫展開一場攸關民族生死存亡的艱苦奮鬥。受到戰爭局勢的影響,藝術的生產環境也產生劇烈變化。當時幾所重要的美術院校在戰爭爆發後都隨著政府向西遷徙,許多在校任教的藝術家因此逃難至四川、雲南等地,而這段在西部的戰時生命歷程,則成為藝術家的創作題材。同時,藝術世界中長久以來所依循的普遍規則也受到挑戰。對藝術自主性的追求──為藝術而藝術,此時反而因政治或社會目的的急迫性,成為創作的次要選項。因此,「中國西部」成為此刻許多藝術家選擇創作的題材,不能以單純從漢族中心出發的異域情調視之,而必須放在戰爭的脈絡下來看待。
    ;The 7th July 1937 marks the beginning of the eight-years long Sino-Japanese war, which engaged the whole nation into a struggle of survival. Many national art schools were forced to move westward with the government. Some artists were induced to paint frontier regions of China, and their work constituted a particular genre in modern Chinese painting. At the same time, rules normally followed by the art world were challenged: autonomy of art, or art for art’s sake, was pushed away to a secondary concern under the concern for military, political and social priorities. By consequence, the seemingly picturesque subject must not be considered as simply exotic from a dominant Han Chinese point of view, instead, it should be reevaluated with consideration of circumstances of war.
    In the wartime migration, Pang Xun-Qin, Wang Zi-Yun and Wu Zuo-Ren, respectively professors of Beiping Art School, Hangzhou Art School and the Department of Art of Nanjing Central University, moved with their schools to the west of China. All three traveled to frontier regions of China, and produced series of artworks depicting their journey. Earlier researches on them often put emphasis on artists’ personal will and formal analysis. The purpose of my thesis is to restore the historicity of events and works in wartime, and to demonstrate properly interactions between art and war.
    From a global point of view, the second Sino-Japanese war wasn’t merely a series of military conflicts. There were also battles on cultural and social fronts. With their artwork, these three artists participated in the war in their own way. By Clarifying the imbrications between internal and externals factors of their artworks, we will open a brand new interpretation rather than Chinese “Orientalism” infused in exotic flavor of frontier regions of China during a war of which the outcome was vital to every Chinese.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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