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20世纪初期的民族危机使西北从一个模糊的地理概念转变为关系到民族存亡的文化疆域。我们不得不转向西北,去寻求“生命线”和新建立新的国家民族观念。对照“万国”我们渐渐明晰了“国家”的概念:抗击侵略,我们才用多民族的中华民族代替了汉族中心主义的观念。在这样的历史情境之中,我们便不能简单地将关山月西北写生的行为和创作视为单纯的艺事,其中印证了时代观念的转向,同时,这些作品也,隐喻、表述和塑造了新的思想。
The national crisis in the early 20th century changed the northwest from a vague geographical concept to a cultural one that related to national survival. We have to turn to the northwest to seek the “lifeline” and establish a new national concept of nationhood. We have gradually clarified the concept of “state”: in fighting the aggression, we have replaced the notion of Han-centrism with a multi-ethnic Chinese nation. In such a historical situation, we can not simply consider the behavior and creation of Guan Shanyue’s sketch of the northwest sketching as a mere artistry, which confirms the shift of the concept of the times. At the same time, these works are also metaphorically represented and modeled New ideas