| 摘要: | 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。
戰爭爆發時分別任職於北平藝專、杭州藝專與中央大學藝術系的龐薰琹、王子雲與吳作人，在跟隨學校遷移至大後方後，都曾造訪西部邊疆，並繪製一系列描繪西北與西南人文風景的繪畫作品。相對過去對這些藝術家的研究多側重形式分析及藝術家個人意志的探索，本論文的寫作目的，是透過對龐薰琹、王子雲與吳作人西行經驗的再次檢視，將他們的邊疆旅行與作品嵌入戰時社會的時空脈絡，指出來自時代與社會、影響畫家藝術實踐的外在因素。
從一個宏觀的角度，對日抗戰不僅是中日兩國間的軍事對抗，同時也是經濟、社會與文化的戰爭。三位藝術家出行邊疆後所創作的藝術作品，為見證藝術參與總體戰爭的時代痕跡。自覺地或不自覺地，龐薰琹、王子雲與吳作人各自以不同的藝術形式加入「抗戰」，因此為他們作品中的異域情調提供了另一種闡釋可能。
;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. |
