如何走向民间:赵望云20世纪30年代的田间写生

How to Create in a People-centered Manner:Zhao Wangyun’s Field Sketch in the 1930s

赵望云被理论界视为中国美术实践“到民间去”的重要代表,其代表性有二:一是持续自觉地到民间写生;二是以国画表现底层民众——两者为“到民间去”的理论设想与中国美术的出路提供了具体方案。理论界的关注源于他20世纪30年代开始的写生行为,但赵望云30年代的写生状态及其作品呈现,与理论描述存在一定程度上的错位,即赵望云以“田间”定义自我,与理论视域中的“民间”并非绝对对等,这导致理论的形塑对赵望云的实践产生了部分遮蔽,其原因在于面对“民间”这一空间场域时有各自的理解,背后存在着理论策略、实践认知与个体追求之间的不同。“民间”作为中国美术大众化的重要对象与实践领域,其初期的探索阶段值得我们重新审视并作细致梳理。

Zhao Wangyun is regarded by the theoretical community as an important representative among those who create artworks in a people-centered manner,as he always did field sketch and depicted ordinary people in his traditional Chinese paintings.These two aspects offered specific paths for the development of the "people-centered" theory and the future of Chinese art.The field sketch that Zhao began in the 1930s aroused the attention of the theoretical community,but his state and his sketches back then were somewhat different from the theory.That is to say,the "field" in Zhao’s mind was not absolutely equal to the "people" in the theory;therefore,the theory could not fully cover Zhao’s practice.The reason lied in different understandings,theories,practices and pursuits. "People" are an important target and object in the popularization of Chinese art,and the initial exploration regarding "people" should be reexamined and carefully analyzed.