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|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|
|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|
|Issue Date: ||2016-03-17 20:53:12 (UTC+8)|
;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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