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1939年,决澜社画家倪贻德与中华独立美术协会的梁锡鸿,以及摄影师何铁华在位于香港铜锣湾的岭英中学创作了一组壁画《抗战》、《建国》,这组壁画以鲜明的现代主义元素和风格,成为抗战主题性壁画创作中的另类存在。本文重构了这两幅壁画在香港诞生的历史语境,并与倪贻德不久前在武汉参与创作的黄鹤楼大壁画进行了联系和比较。本文认为,现代派洋画家在抗战初期大量参与壁画实践,不仅反映了全面危机状态下艺术家国家意识的普遍提升,更折射出当时画坛日趋激烈的媒介竞争的结构性现象:正是由于漫画、版画、摄影、戏剧、电影这类大众文艺媒介占据了抗战宣传的支配性位置,洋画家们才如此重视具备跨媒介特性的壁画,并由此引发画风的突变现象。
In 1939, Ni Yide, painter of Lancanshe Society, and Liang Xihong from China Association of Independent Artists, and photographer He Tiehua wrote a group of mural paintings “Anti-Japanese War” and “Founding of the People’s Republic” at Ridge High School in Causeway Bay, Hong Kong. These murals are characterized by distinct elements of modernism And style, become the anti-Japanese thematic mural creation alternative existence. This article reconstructs the historical context in which these two mural paintings were born in Hong Kong and links them with the Yellow Crane Tower mural paintings that Ni Yi-de had recently participated in creating in Wuhan. This paper argues that the large number of foreign artists who participated in mural painting during the early Anti-Japanese War not only reflected the general rise of the artist’s national awareness in an all-round crisis, but also reflected the structural phenomenon of the increasingly fierce media competition at that time. It was precisely because of the cartoons, . Mass media, such as photography, drama and film, dominated the anti-Japanese war propaganda. The Western painters paid so much attention to murals with cross-media characteristics and triggered a sudden change of style.