摘要
作为中国现代艺术运动和现代美术教育改革运动的实践者,庞薰琹在二十世纪中国社会的剧变中,以艺术实践将个体理想与家国命运联结在一起,对中华民族共同体有了初步的表达和思考。抗战爆发初期,他在参与贵州民间艺术考察项目田野工作期间,创作了《贵州山民图》系列组画,通过重构苗族、布依族等民族的视觉形象,形成了具有开创意义的文化艺术表征。该作品概括了他对西南少数民族社会的理解,突破了传统的异域想象,从服饰、色彩、场景等方面重构了西南少数民族的图像叙事路径。庞薰琹在绘画中创造性融入“江南意境”的山水人文景观,表明跨地域、跨民族的审美共通性与文化互动性,展示出“多元一体”的西南民族文化形象和生活图景。这种将民族志观察转化为视觉表达的创作路径,不仅折射出战时知识分子对中华民族共同体意识的文化自觉,更以视觉民族志的方式参与了现代民族国家认同的符号生产,为理解二十世纪初中国艺术与人类学、民族学的知识互动提供了关键个案。
As a practitioner of China’s modern art movement and the Modern Art Education Reform Movement,Pang Xunqin tied his individual artistic ideals and practice to the nation's fate during the dramatic changes in Chinese society in the 20th century,offering preliminary artistic expressions and reflections on the Chinese national community.In the early stages of the outbreak of the War of Resistance Against Japanese Aggression,he participated in the fieldwork for the Guizhou Folk Art Survey and created a series of group paintings called Paintings of Mountain People in Guizhou.This work reconstructed the visual and artistic imagery of ethnic peoples such as the Miao and Buyi,forming a cultural representation text with pioneering significance.This work summarizes his understanding of southwestern ethnic minority societies,breaking free from traditional exotic imagination,and reconstructing the visual narrative path of ethnic minorities in Southwest China through depictions of clothing,colors,scenes,and other aspects.Pang Xunqin creatively integrates the“Jiangnan artistic conception”of geographical and cultural landscapes into narratives of southwestern imagery,demonstrating aesthetic commonalities and cultural interactions across regions and ethnic groups,while showcasing the“diverse yet integrated”cultural images and living landscapes of Southwest ethnic groups.This creative path of transforming ethnographic observations into visual expression not only reflects the cultural consciousness of contemporary intellectuals towards the Chinese national community,but also participates in the symbolic construction of modern national identity through visual ethnography,providing a key case for understanding the knowledge interaction between Chinese art,anthropology,and ethnology in the early 20th century.The Paintings of Mountain People in Guizhou differ from previous depictions of the image of borderland ethnic groups,which often relied on“cultural centrism”for their imaginaries.Instead,it offers value-neutral portrayals infused with a longing and aspiration for the poetic and pastoral life of ethnic groups.In addition,the character images are lifelike,approachable,and expressive,drawing on the techniques of Chinese and Western painting techniques to shape a common aesthetic ideal,while also forming a unique decorative style.From the selection of materials and colors to the realistic tendency in image creation,it can be seen that Pang Xunqin's in-depth depictions Guizhou’s ethnicities aim to showcase the emotional commonalities and cultural diversity between the inland and borderland peoples.The Paintings of Mountain People in Guizhou not only faithfully record the living scenes of ethnic minorities at that time,but also participate in the symbol formation of modern national identity and Chinese national community consciousness in the form of visual ethnography.Pang's transformation of individual observations into public visual symbols essentially weaves cultural memories and emotional bonds of the community.Its core value lies in its sincere gaze towards“diverse”cultures and the intelligent refinement of“unity”,as well as transforming this gaze and refinement into visual power capable of inspiring universal resonance.Pang's participation in the Guizhou Folk Art Survey and his creative practice not only validated the feasibility of the“Pattern of Diversity in Unity of the Chinese Nation”at the visual narrative level but also,with its high cultural consciousness,provided valuable examples for how art can actively participate in national narratives and promote cultural identity.
作者
马路遥
刘兴全
Ma Luyao;Liu Xingquan(Southwest Minzu University,Chengdu,610225,Sichuan,China)
出处
《民族学刊》
北大核心
2025年第8期49-58,157,共11页
Journal of Ethnology
基金
四川省社科重点实验室中华民族优秀传统文化艺术数字化智慧实验室资助,西南民族大学团队项目“汉藏羌彝走廊传统工艺美术中的民族互嵌及文化共同性数字化传播与利用研究”(2024GTI-TD01)阶段性成果。
关键词
《贵州山民图》
图像叙事
民族国家
中华民族共同体
Paintings of Mountain People in Guizhou
image narrative
nation-state
Chinese national community
