Folk Art and Modern Culture in Republican China

出版者:Lexington Books

作者:Felicity Lufkin

页数:316

出版时间:2016-1-21

价格:USD 95.00

装帧:Hardcover

isbn号码:9781498526289

具体描述

Folk art is now widely recognized as an integral part of the modern Chinese cultural heritage, but in the early twentieth century, awareness of folk art as a distinct category in the visual arts was new. Internationally, intellectuals in different countries used folk arts to affirm national identity and cultural continuity in the midst of the changes of the modern era. In China, artists, critics and educators likewise saw folk art as a potentially valuable resource: perhaps it could be a fresh source of cultural inspiration and energy, representing the authentic voice of the people in contrast to what could be seen as the limited and elitist classical tradition. At the same time, many Chinese intellectuals also saw folk art as a problem: they believed that folk art, as it was, promoted superstitious and backward ideas that were incompatible with modernization and progress. In either case, folk art was too important to be left in the hands of the folk: educated artists and researchers felt a responsibility intervene, to reform folk art and create new popular art forms that would better serve the needs of the modern nation.In the early 1930s, folk art began to figure in the debates on social role of art and artists that were waged in the pages of the Chinese press, the first major exhibition of folk art was held in Hangzhou, and the new print movement claimed the print as a popular artistic medium while, for the most part, declaring its distance from contemporary folk printmaking practices. During the war against Japan, from 1937 to 1945, educated artists deployed imagery and styles drawn from folk art in morale-boosting propaganda images, but worried that this work fell short of true artistic accomplishment and pandering to outmoded tastes. The questions raised in interaction with folk art during this pivotal period, questions about heritage, about the social position of art, and the exercise of cultural authority continue to resonate into the present day.

作者简介

Felicity Lufkin is lecturer in folklore and mythology at Harvard University.

Research Interests: modern Chinese art; folk art, popular art, and crafts; art and gender, exhibitions.

目录信息

Introduction: Art, Folk Art, and the Modern Nation
Part I: Folk Art and National Culture in the Nanjing Decade
Chapter 1: Imagining Folk Art in Urban China
Chapter 2: Prints as a Popular Art: Folk Prints and New Prints
Chapter 3: The Folkloric Prints of the Modern Print Association Chapter 4: The Folk Picture Exhibition
Part II: Folk Art and Propaganda in the Anti-Japanese War
Chapter 5: Resistance Door Gods in the Nationalist Areas
Chapter 6: Popularizing Prints in the Communist Base areas
Chapter 7: Folk-style and visual rhetoric in and beyond Yan’an
· · · · · · (收起)

用户评价

我花了整整一个下午的时间来沉浸在作者的叙事逻辑中，不得不说，作者的行文风格极其老练且充满学者的洞察力。他并没有采取那种平铺直叙的编年史写法，而是构建了一个极其精妙的分析框架，将社会变迁、政治思潮与日常生活中的审美趣味之间的微妙互动，剖析得淋漓尽致。尤其是在论述某一特定民间工艺如何被卷入到国家建构的宏大叙事中的那一部分，那种抽丝剥茧般的论证过程，让我这个非专业读者都能清晰地跟上作者的思路，并且在关键节点产生强烈的“原来如此”的共鸣。语言的运用上，时而如同锋利的解剖刀般精准有力，时而又充满了历史的温情和对逝去时代的敬意，这种语气的张弛有度，使得阅读过程充满了智力上的愉悦感。对于那些希望理解特定历史时期文化动态的深度研究者来说，这本书无疑提供了一个极具启发性的新视角，它挑战了许多既有的、过于简化的历史解读模式。

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这本书的理论贡献在于它成功地打破了过去那种将“高雅艺术”与“通俗文化”简单对立的二元论视角。作者巧妙地展示了在动荡的二十世纪早期，这种界限是如何被策略性地模糊、利用甚至颠覆的。我尤其欣赏作者对于“现代性”概念的批判性继承，他没有盲目地歌颂“进步”，而是深刻地探讨了在追求“现代化”的过程中，传统民间审美符号所经历的意义重塑和价值异化。那种关于符号学解读的章节，简直是教科书级别的分析，它揭示了文化如何在权力结构下，被重新编码以服务于新的意识形态目标。对于文化研究的同行们来说，这本书无疑会成为未来很长一段时间内，讨论“文化中介性”和“媒介转型”时绕不开的重要参考。它提供了一个清晰的路径图，说明文化元素是如何从底层社会流动并最终被精英阶层吸纳和再生产的。

从一个普通爱好者的角度来看，这本书的魅力在于它的故事性远超一般的学术专著。虽然学术底蕴深厚，但作者似乎有一种天赋，能够将枯燥的考据转化为引人入胜的叙事片段。那些关于手工艺人如何应对市场变化、他们的作品如何在不同社会阶层之间流转的细节描述，读起来简直像极了精彩的小说。我仿佛能闻到作坊里的桐油味，看到染坊工匠们在阳光下忙碌的身影。这种将宏大历史背景与微观个体命运紧密结合的叙事技巧，极大地拉近了读者与历史的距离。它让我意识到，我们今天所理解的“艺术史”，往往忽略了那些在底层默默耕耘、用双手塑造了时代面貌的普通创造者。这本书成功地把“人民的艺术”从历史的边缘拉回到了叙事的中心，这本身就是一种了不起的成就，它让历史变得有温度，有血有肉。

这本书的田野调查和文献引证工作量之庞大，简直令人望而生畏。我注意到作者在注释部分引用的资料跨越了多个语种和不同的档案类型，从地方志、私人信件到报刊杂志的评论，无一不包。这种扎实的基石确保了其论点的无可置疑的说服力。更令人印象深刻的是，作者对于不同地域间差异性的关注，他没有将“中国”视为一个同质化的文化场域，而是细致地描绘了南方与北方、城市与乡村在接受和转化外来文化影响时的不同路径和反应速度。这种细致入微的比较研究，极大地丰富了我们对那个复杂历史阶段的理解。每一次当我试图提出一个疑问时，往往翻到下一页或查阅附录，便能找到作者预先设想好的、基于确凿证据的解答。这种“应答式”的写作结构，使得阅读体验非常顺畅且令人信服，它不是自说自话，而是在与历史对话。

好题材！

好题材！

卢飞丽2001年提交的博士论文，由高居翰指导。从视觉艺术的角度研究研究艺术杂志、印刷技术、图片展览与战时宣传中的民艺。

好题材！

好题材！