民国初期天津市美术馆的美术影展与美术摄影文化的早期建构

发布时间：2018-04-14 16:00

本文选题：美术馆 + 美术摄影展览　；参考：《四川大学学报(哲学社会科学版)》2014年02期

【摘要】：透过天津市市立美术馆从1930年到1937年举办的多届美术影展,可以发现并解读摄影者、观看者以及媒体的摄影观念冲突。正是在这些观念的相互矛盾中,早期摄影文化——至少是美术摄影文化——得以缓慢形成。美术摄影的内容在20世纪30年代获得重要的拓展,由专注于自然风光转向更多地反映社会状况。在审美风向上,也诞生了符合新的文化主导阶层独特趣味的表现语汇。这些重要的变化在天津市美术馆的历届影展中得到展现,其中以1935年的黑白影展最为显著。这些美术影展标记着作为新艺术形式的摄影在吸收旧有文人传统的基础上,逐步形成独特的摄影文化的发展过程。其中,天津市美术馆起到了展示摄影实践成果、平衡观念矛盾、提供评判依据等重要作用。对民国时期美术摄影观念与公共文化空间互动的研究能够为认识近代中国文化、艺术甚至社会的现代化进程提供一个特殊的视角。
[Abstract]:Through the numerous art exhibitions held by Tianjin Municipal Art Museum from 1930 to 1937, the conflict of photography concepts among photographers, viewers and media can be found and interpreted.It is in the contradiction of these concepts that the early photographic culture-at least the art-photography culture-was slowly formed.In the 1930s, the content of art photography gained an important expansion, from focusing on natural scenery to more reflecting the social situation.In the aesthetic trend, it also gave birth to the new cultural dominant class unique interest expression.These important changes have been shown at previous exhibitions of Tianjin Art Museum, most notably in 1935.These art exhibitions mark the development process of photography as a new art form which gradually forms a unique photographic culture on the basis of absorbing the old literati tradition.Among them, Tianjin Art Museum plays an important role in displaying photographic practice, balancing the contradiction of ideas and providing the basis for evaluation.The study of the interaction between the concept of art photography and public cultural space during the period of the Republic of China can provide a special perspective for understanding the modernization process of modern Chinese culture, art and even society.
【作者单位】：四川大学历史文化学院;
【分类号】：J209.2;J409.2

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