中日戰爭 시기 中國畵壇의 동향 -重慶 水墨畵壇을 중심으로- (Chinese Ink Painitng during the Sino-Japanese War)

서지정보

· 발행기관 : 중국사학회
· 수록지 정보 : 중국사연구 / 57호 / 343 ~ 373페이지
· 저자명 : 이주현

초록

On July 7, fighting broke out at Lugouqiao of Biejing, 3 weeks later the city was occupied by Japanese forces. Until December of the year, Shanghai, Hangzhou, Nanjing was captured, the capital had been moved far up river of Yangzi to Chongqing. For seven years(1938-1945) Chongqing was systematically pounded by Japanese bombers, however we can see a surprising amount of artistic activity. By 1940 the All-China Art Association(Zhongguo quanguo meishu hui) had been formed, and the 3rd National Art Exhibition was held in 1942. The importanat art academies such as National Central University, Beiping Art School and Hangzhou Art School packed up for the long journey to the Interior. The thousands of professors and students mobilized to produce propaganda painting for war effort under Government sponsorship. The Third Administration of the Guomindang government played the most important roll to formulate cultural policy during wartime. The Communists and the Guomindang government had established a United Front against Japan. Therefor in the first half of War(1937-1941), Nationalist and Communist artist collaborated under the slogan of 'Anti-Japan'. They often formed alliances to travel huge area from Yunnan to Mongolia, and spent several months in this border area in which no Chinese artists were interested until 1937.(Fig, 1, 2) The painters of Lingnan School Guan Shanyue and Huang Junbi, who combined traditional medium, ink with western methode depicted the terrible scene of masses and soldiers who suffered under the japanese cruel attack.(Fig. 3, 4, 7)
After the Communist took the initiative of the wartime propaganda, the cultral policy of Guomindang changed the direction from 'Anti Japan' to 'Anti-Communist'. In the art world of Chongqing began to spread out nationalism, and in the ink painting traditional style was preferred. The most favorite theme was the three famous gorges of Yangzi river (Changjiang sanxia, 長江三峽).(Fig. 14, 15) It often depicted in the style of Green and Blue(qinglu shanshui 靑綠山水) of Tang dynasty(Fig. 16, 17) Under the widespread nationalism, the artistic value of Duhuang, the most representative cultural properties of Buddhism, was recovered by the ink painters. For two and a half years Zhang Daqian had produced 276 copies of the most important frescos.(Fig. 19, 20) Although the War left irrevocable destruction of cultural heritage, the artists could rediscover the artistic value of traditional ink painting.

영어초록

On July 7, fighting broke out at Lugouqiao of Biejing, 3 weeks later the city was occupied by Japanese forces. Until December of the year, Shanghai, Hangzhou, Nanjing was captured, the capital had been moved far up river of Yangzi to Chongqing. For seven years(1938-1945) Chongqing was systematically pounded by Japanese bombers, however we can see a surprising amount of artistic activity. By 1940 the All-China Art Association(Zhongguo quanguo meishu hui) had been formed, and the 3rd National Art Exhibition was held in 1942. The importanat art academies such as National Central University, Beiping Art School and Hangzhou Art School packed up for the long journey to the Interior. The thousands of professors and students mobilized to produce propaganda painting for war effort under Government sponsorship. The Third Administration of the Guomindang government played the most important roll to formulate cultural policy during wartime. The Communists and the Guomindang government had established a United Front against Japan. Therefor in the first half of War(1937-1941), Nationalist and Communist artist collaborated under the slogan of 'Anti-Japan'. They often formed alliances to travel huge area from Yunnan to Mongolia, and spent several months in this border area in which no Chinese artists were interested until 1937.(Fig, 1, 2) The painters of Lingnan School Guan Shanyue and Huang Junbi, who combined traditional medium, ink with western methode depicted the terrible scene of masses and soldiers who suffered under the japanese cruel attack.(Fig. 3, 4, 7)
After the Communist took the initiative of the wartime propaganda, the cultral policy of Guomindang changed the direction from 'Anti Japan' to 'Anti-Communist'. In the art world of Chongqing began to spread out nationalism, and in the ink painting traditional style was preferred. The most favorite theme was the three famous gorges of Yangzi river (Changjiang sanxia, 長江三峽).(Fig. 14, 15) It often depicted in the style of Green and Blue(qinglu shanshui 靑綠山水) of Tang dynasty(Fig. 16, 17) Under the widespread nationalism, the artistic value of Duhuang, the most representative cultural properties of Buddhism, was recovered by the ink painters. For two and a half years Zhang Daqian had produced 276 copies of the most important frescos.(Fig. 19, 20) Although the War left irrevocable destruction of cultural heritage, the artists could rediscover the artistic value of traditional ink painting.

참고자료

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