延安时期“马蒂斯之争”再考察

A Re-examination of the“Matisse Debate”During the Yan an Period

延安时期的美术创作在对“洋”形式的选择上面临着内在困境:既承担着革命运动自身具有的“国际”属性,同时又面对着革命理论“中国化”与革命实际需求的选择。“马蒂斯之争”作为发生在“延安文艺座谈会”期间的美术论争,包含诸多重要的问题。比如,此次论争的历史文献存在许多关联性问题:一方面,涉及西方艺术运动及其“现代精神”;另一方面,包含“五四”新文化运动、左翼文艺运动、延安文艺运动以来“革命”与“美术”之间的关系转换。回到历史语境,此次论争的发生逻辑,“马蒂斯”在鲁艺美术教学活动中的呈现,以及“马蒂斯之争”与座谈会的关系等关键问题仍需考证。

During the Yan'an period,the creation of art encountered a fundamental dilemma in its engagement with“foreign”artistic forms.On the one hand,it had to embrace the“international”character inherent in the revolutionary movement,and on the other,it faced the challenge of the“Sinicization”of revolutionary theory and its practical needs.The emergence of the“Matisse Debate”,at least from a theoretical point of view,was intertwined with the transformation of the relationship between“revolution”and“art”,involving issues such as the Western modern art movement,the May Fourth New Culture Movement,the Left-Wing literary and artistic movement,and the Yan'an literary and artistic movement.This thesis seeks to logically restore the theoretical issues involved in the debate by grounding them in specific historical facts.On the one hand,this article reexamines the debate and its associated academic issues:Firstly,it traces the entry of the“Matisse Debate”into the scholarly discourse and its historical trajectory,showing that the debate was sparked by the“frontline art creation group”during the Yan'an period,with Matisse carrying symbolic significance.Secondly,it examines the cultural form of Matisse s influence manifested in the Yan'an border area,as well as its specific expression within the art theory and technical training of the Lu Xun Academy of Arts.In this context,Matisse came to symbolize the entire Western modernist art movement and its modern spirit.Thirdly,this thesis explores the transformation in revolutionary literary and artistic discourse within the Yan'an art community,particularly the transition from the“acceptance”to the“criticism”of Matisse,and critically investigates the spatial-temporal relationship between the“Matisse Debate”and the Yan'an Literary Symposium,concluding that the“Talks”delivered by Mao Zedong played a significant role in catalyzing the debate.Meanwhile,this thesis reexamines the events surrounding the debate and their broader implications.Firstly,it argues that the“Matisse Debate”catalyzed reforms of the curricula in the Lu Xun Academy of Arts,steering them towards alignment with the revolutionary New Literary and Artistic movement.Secondly,the debate played a pivotal role in shaping the ideological framework of the revolutionary New Literary and Artistic perspective.Thirdly,it explores how the“Matisse Debate”prompted Zhuang Yan to shift his creative philosophy and practices towards the construction of a revolutionary New Literary and Artistic vision.This shift marked the“Matisse Debate”as a decisive turning point in the evolution of revolutionary New Literary and Artistic thought.This analysis challenges the prevailing focus in studies of Yan'an art history and Yan'an literary history,which predominantly emphasize the“Matisse Debate”as an example of the free intellectual discourse within the Yan'an cultural sphere.Through a detailed examination of historical facts,this thesis explores the shifting relationship between“revolution”and“art”within the context of the“Matisse Debate”,as well as the evolving role of Matisse in the changing landscape of China's social revolution.The influence of these debates has continued to shape artistic production in China,extending from the founding of the People's Republic up to the present,and demonstrating the lasting impact of the Yan'an-era artistic controversies in the broader narrative of modern Chinese art history.