符羅飛(1897-1971): 20世紀的中國藝術與革命. ; 20世紀的中國藝術與革命 ; Fu Luofei (1897-1971): art and revolution in the twentieth-century China ; CUHK electronic theses & dissertations collection ; Fu Luofei (1897-1971): 20 shi ji de Zhongguo yi shu yu ge ming. ; 20 shi ji de Zhongguo yi shu yu ge ming

Abstract

本論文選取畫家符羅飛(1897-1971)進行研究,旨在通過文字及圖像史料復原這一被視作"歷史失蹤者的藝術家個案,並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化,分爲五個章節,結合文獻考據、視覺分析及藝術社會學等研究方法,分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動,並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體,是如何通過主動轉變藝術面貌,從而與20 世紀中國社會的大變動連成一體。本文認爲:符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國,但其藝術救國活動最初並未達至理想效果;直到40 年代中期才在通過不斷地寫生、辦展,逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素,脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌,在特定的政治人群中得到廣泛承認,在此過程中輿論因素的影響不可忽視;同時,他的彩墨實驗等游離於政治目標之外的藝術活動打破了"革命畫家"的刻板印象;而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運,又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。 ; This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu's artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles. ; As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on "saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), ...