摘要
在向中国引介、传播外来艺术作品时,鲁迅有意识地暂缓了日本浮世绘的推广。从鲁迅对待浮世绘的态度中,我们可以更加全面地了解在变革和救亡的时代背景下,其对更能够发挥社会功用以达到革命目的的艺术形式的主张与偏好。而在鲁迅的艺术主张背后所揭示的是,鲁迅的艺术主张所关注的是艺术与意识形态的交融,以及由此发挥出的社会功用。这种交融不仅仅表现为提倡黑白木刻版画、提倡美术的革命力量中那个战斗的鲁迅,也表现为在作为私人审美趣味的浮世绘收藏中表达理想展望的、具有人文关怀的鲁迅,两者并非各自独立,而都是来自于影响鲁迅的种种意识形态话语,并最终在鲁迅艺术主张中得以体现。在面临着理论与实践变革的当下,鲁迅的艺术主张可以为我们提供处理艺术与意识形态关系的理论进路,促进艺术及其中的意识形态发挥更大的社会功用。
When introducing and disseminating foreign art works, Lu Xun consciously delayed introducing Japanese changing ukiyo - e. In Lu Xun＇s attitude towards ukiyo - e, we can fully understand that, during the time of and revolution, Lu Xun preferred the art which is able to influence the society with a revolutionary aim. What is behind Lu Xun＇s art proposal is the combination of art and ideology and the social utility that derives from it. Such combination indicates Lu Xun as a fighter who advocated the woodcut movement and emphasized the importance of revolutionary power of art. On the other hand, it also indicates Lu Xun as a collector who expressed his ideals and who had humanistic care through his private collection of ukiyo - e. The two ＂Lu Xuns＂ are not separated, instead, they are resulted from ideological discourses, which influ- enced Lu Xun so as to form his art proposal. Nowadays, not only theoretical problems but also practices are faced with change and challenge. Lu Xun＇s art proposal provides us with theoretical access to dealing with the relation between art and ideology, Moreover, when regarding art and art theory in the research, Lu Xun＇s art proposal provides a more objective way to cope with relation between art and ideology, to digest the ten- sions in theory, and to promote the social influence of art and ideology.
出处
《民族艺术研究》
2017年第2期77-83,共7页
Ethnic Art Studies
关键词
鲁迅
木刻运动
艺术理论
意识形态
艺术力
Lu Xun, the woodcut movement, art theory, ideology, tension of art
