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本文以两次美展的规模与形制为视角切入点,采用历时比较并参证细节性一般状况考察的“一般史”的研究方法,试图通过对两次美展组织人员的架构、展品种类及出版的图录、发行的文集三方面的探讨,不仅揭示出美术作为国家文化建设事业的一部分,已经进入国民政府的视野,并从一个有效的角度,展现出中国美术在观念与实践上由古典形态向现代形态演进的轨迹,并由此显豁中国美术价值观的发展以及与此相关的社会文化心理的变化。
This article starts from the perspective of the scale and the shape of the two art exhibitions and adopts the research method of “general history” which is diachronic compared with that of the general history of the case. The author attempts to analyze the structure of the two art exhibition organizations, The publication of the catalog, the collection of anthology of the three aspects of exploration, not only reveals the art as part of the cause of national cultural construction, has entered the vision of the national government, and from an effective point of view, shows the concept of Chinese art and practice by the classical Form to the evolution of the modern form of trajectory, and thus clear the development of Chinese art values and the related social and cultural changes in psychology.