The Research Of Art Movement Association(1920-1930s)

Art movement association is not only a modern community organization headed by Lin Fengmian and dominated by the group of artists studying in France,but also has traditional Chinese interpersonal network elements,such as the relationship between hometown and school.Its rise cannot be separated from Cai Yuanpei's support,and the “art movement” is the concrete practice of Cai Yuanpei's thought of “replacing religion with aesthetic education”.Like many art groups of the same age,as a collective force,it is a flash in the pan.However,its humanitarian art view and the exploring of formal language has opened up a meaningful way for the modernization of Chinese fine arts.This paper adopts the research method of combining art social history with cultural history.On the basis of literature review and image research,this paper takes the practical activities and artistic viewpoints of the community as the basic research object,focuses on the cultural history interpretation of artistic thoughts,so as to construct the deep connection between artistic style and various factors of social times.In addition to the introduction and conclusion,the main body of the paper is composed of five chapters.The first chapter,from the perspective of the changes in the art world of the Republic of China,examines the changes in the art trend before and after the new culture movement,and the potential impact of this change on the members of the art movement.In this changing era,there are three phenomena worthy of special attention: the first is the significance of the times of “Art Revolution”.As a part of the new cultural movement aimed at completely transforming Chinese society,under the ideological wave of “revaluation of all values”,the “Art Revolution” emphasizes the value advantage of western realism art with radical fighting slogans.It symbolizes the scientism belief of Western civilization,and has brought the ideological and cultural impact to Chinese art circles.It opened up the modern road of Chinese art tradition from freehand brushwork to realism,from elite to the public,and from detachment to reality.Second,Cai Yuanpei put forward the slogan of “replacing religion with aesthetic education”.This seemingly irreconcilable contradiction between Cai's humanitarianism moral education,aesthetic education centered on moral education and modern aesthetics that aesthetics does not involve utility is an important feature of Chinese early Enlightenment aesthetics.The enlightenment aesthetics and the harmonious view of Chinese and Western cultures provide an important reference and theoretical basis for the formation of artistic thoughts of members of the art movement club,and the “cultural movement should not forget aesthetic education” is the direct source of the social “art movement” of the art movement.Third,the work study movement and the rise of the wave of European art students.It not only laid a personnel foundation for the development of fine arts,but also changed the pattern of early scholars which studying in Japan to dominate the art world,and absorbed more rational and systematic western resources for the exploration of Chinese art modernization.The writing of all these factors,from the perspective of cultural history,provides an important reference for us to interpret the activities of art movement association,the characteristics and essence of artistic thought,the metaphor of artistic style and its fate.The second chapter focuses on the group activities of art movement association.First of all,it expounds the significance of the phenomenon of cluster Association in the period of social transformation from the late Qing Dynasty to the early Republic of China.Then it summarizes the modern art group “art movement society” which is formed under this background,discusses its origin,development and changes,and determines the most representative and special cases of the characters: Lin Fengmian,Lin Wenzheng,Wu Dayu and Li Jinfa.Secondly,the primary purpose and all efforts of the art movement association are to promote a social “art movement”.The cause of art reform includes: the creation of new art in the new era,the research and publicity of art theory,the publication of series of newspapers and periodicals,the opening of seminars and art exhibitions,the establishment of specialized art schools,the organization of art museums,conservatories,theatres and so on.Therefore,this section selects three systematic perspectives of publishing,education and exhibition to investigate the practical activities of the group in detail and grasp its main characteristics.Thirdly,since its predecessor “Phoebus”,the art movement association is a group with a clear goal,with the purpose of “researching and introducing world art,sorting out ancient Chinese art,and creating new art”,which has not changed for a long time.That is to say,there are more consistent artistic concepts among the members of the group.Through the investigation of the original context of historical materials,it is generally described as “creating the national era art”,which includes two aspects of art ontology and artistic value theory.The third,fourth and fifth chapters respectively take Lin Fengmian,Wu Dayu and Li Jinfa as the breakthrough points to analyze the multi angle color of the art movement association and its time value.Lin Fengmian,with the practice of creation and literary theory,has become a banner of art movement association to promote “art movement”.Under his leadership,the “art movement” aimed at transforming the society with art,enlightening the public,and cultivating modern citizens with “Humanistic” spirit by art,was implemented in an all-round way.As a part of the new culture movement,although the occurrence time of “art movement” is slightly lagging behind,from the sociological point of view,there are structural similarities in the formation conditions and paradigms of the “movement”.More importantly,they share the same value orientation in the artistic spirit and cultural spirit.This is especially reflected in Lin Fengmian's view of modern humanitarian art.Lin Fengmian's early artistic ideal contains two aspects: one is to define the social attribute of art and the social responsibility of the artist from the perspective of ethics;the other is the artistic thought about the essence of art and artistic creation.These two aspects are exactly the same in his cultural vision of intellectuals as a humanitarian ideological standpoint,which is reflected in his creative practice: integrating the concern for human survival fate and universal human nature into the ideological connotation of his works and connecting them with the social and cultural functions of art;transforming the pursuit of individual values such as freedom in natural human nature into the individual standards in artistic creation and then linked with the independence of artistic value and the innovation of formal language.This feature is not unique to Lin Fengmian.It can be said that it is the general spiritual appeal of the members of the art movement association,especially in the artistic creation of Wu Dayu,Lin Wenzheng,Li Shuhua,etc.,but they practice in different ways.Although the “art movement” aiming at enlightening the masses has been annihilated in the current of revolution,the thought of“art for human”advocated by this movement is still of great significance: it interacts with the spirit of “humanism” advocated by the new culture movement,and the special humanitarianism that regards “human” and “individual” as the goal becomes the new cultural ideal of these artists.Therefore,they combine the content of art with the exploration of human nature expression,and show the modern concept of “human” from the perspective of artists.On one hand,“art” transcends the instrumentalism level of religion,politics or some ideology and obtains the modern ontological significance.On the other hand,in the context of the transformation of the Chinese nation from a dynastic community to a modern national state community,“art” goes beyond the innovation level of its own “technology” and highlights the construction function of “Tao”.Taking “human” and “individual” as the goal,the art movement association gives art specific social function attribute and ontological connotation,combines the form language of western modernism with the ideological care of enlightening the public.It constructs another art modernization scheme different from the "May 4th" Scientism thought intervening in art,and makes unremitting form innovation,Eastern and Western art language integration has laid a theoretical foundation.This view of art not only reflects the modern change of Chinese art concept,but also reflects the multiple choices of cultural identity of the Chinese nation in the process of moving towards a modern nation-state.It also shows the unique modernity of Chinese art in the process of modern transformation,which is complicated and interwoven the enlightenment modernity with aesthetic modernity.Its significance has gone beyond the interpretation framework of modernist art history narration.