民国初期天津市美术馆的美术影展与美术摄影文化的早期建构

Photo Exhibitions in the Tianjin Museum of Fine Arts and the Development of Fine Art Photography in the Early Republic Era

透过天津市市立美术馆从1930年到1937年举办的多届美术影展,可以发现并解读摄影者、观看者以及媒体的摄影观念冲突。正是在这些观念的相互矛盾中,早期摄影文化——至少是美术摄影文化——得以缓慢形成。美术摄影的内容在20世纪30年代获得重要的拓展,由专注于自然风光转向更多地反映社会状况。在审美风向上,也诞生了符合新的文化主导阶层独特趣味的表现语汇。这些重要的变化在天津市美术馆的历届影展中得到展现,其中以1935年的黑白影展最为显著。这些美术影展标记着作为新艺术形式的摄影在吸收旧有文人传统的基础上,逐步形成独特的摄影文化的发展过程。其中,天津市美术馆起到了展示摄影实践成果、平衡观念矛盾、提供评判依据等重要作用。对民国时期美术摄影观念与公共文化空间互动的研究能够为认识近代中国文化、艺术甚至社会的现代化进程提供一个特殊的视角。

Through studying the materials on art photo exhibitions in the Tianjin Museum of Fine Arts from 1930 to 1937, we can find and interpret the conflicts between the views of photographers, the audience and the journalists of that time. It is these ideological conflicts that have shown how China＇s early fine art photography culture gradually developed. The content of art photos expanded in the 1930s, from the early landscaped photographs to more social scenes being reflected. And on the aesthetic level, the brand new techniques of expression were created to meet the tastes of new culture elites. These changes were reflected in the art photo exhibitions in the Tianjin Museum of Fine Arts, especially the photo exhibition of Black ＆ White Club in 1935. These exhibitions show how photography, as a new art form, absorbed the tradition of Chinese intellectuals and generated its own unique culture. In this process, the Tianjin Museum of Fine Arts played the significant role of presenting the fruits of art photography, easing the ideological conflicts and providing evaluation system. This research on the interaction between the ideas of art photography and the public cultural atmosphere can provide a special angle to understanding the modernization of the culture, the art and even the whole society in China.