论文部分内容阅读
从20世纪40年代起,中华民族正经历著最深重的苦难和动荡。抗战今面爆发,一部分知识分子和艺术家被迫迁往大后方,关山月正是其中具有代表性的一员,他艰难辗转跋涉于桂、黔、滇、川、甘、青等西部地区。中国西部为艺术家们打开了一个新的空间——蕴涵着地域性与民族性相互融合的艺术空间,不同于中原文化的“别有人间”。关山月以其独特的行脚方式去亲身感知一个新型国家的自然形态,因而也为自己的艺术探索打开一个新的天地——其中“民族国家”的言说空间、“边陲地理”、“国族民生”的重新认知和自我认同,对传统技艺的现代传承等,悉数获得话语展开的空间。
Since the 1940s, the Chinese nation is experiencing the deepest suffering and turmoil. In the wake of the war, some intellectuals and artists were forced to relocate to the rear of the country. As a typical representative, Guan Shanyue traveled hard to the western regions of Guangxi, Guizhou, Yunnan, Sichuan, Gansu and Qinghai. The western part of China opened up a new space for artists - a space of art that integrates regional and nationality, unlike the culture of the Central Plains. Guanshan Yue, with its unique approach to walking, personally senses the natural state of a new type of country and therefore opens up a new world for its own artistic exploration. Among them, “the nation space”, “border land geography” , “National livelihood,” the re-cognition and self-identity, the traditional heritage of the modern art, etc., all access to discourse space.