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1942年夏秋之交发生在延安鲁艺的“马蒂斯之争”已被许多研究者解读,它或被看作是关于现代主义艺术的论争,或被认为是关于“革命性”和“艺术性”问题的争论。这些解读虽然具有一定的合理性,其实都未触及到问题的实质。从场域的视角出发,可以看到这一争论背后所掩盖的其实是三股力量在场内争夺文化合法性的博弈。结合江丰与罗工柳坚持的艺术观及他们对庄言的批评的分析,可以看到传统解读中认为是同盟关系的江丰与罗工柳之间也存在着博弈关系。因此,对场域内外力量的变化和这些博弈关系进行分析就可以实现异于传统的另一种解读。
The “Matisse War”, which took place in Lu’an in the summer of 1942, has been interpreted by many researchers as either a controversy over the art of modernism or as a “revolutionary” “And” artistic "issues. Although these interpretations have a certain degree of rationality, they have in fact not touched upon the substance of the issue. From the perspective of the field, we can see that the behind of this debate is actually a game in which three forces compete for cultural legitimacy during the match. According to Jiang Feng and Luo Jian Liu insisted on the view of art and their criticism of Zhuang Yan, we can see that there is a relationship between Jiang Feng and Luo Gongliu in the traditional interpretation of the alliance. Therefore, the analysis of the changes in the field strength inside and outside the field and these game relationships can achieve another interpretation different from the traditional one.