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중화민국 전기 미술정책과 미술학교의 대응 발전(1912~1928)
원어 제목
주제 분류
자료 유형
학술논문
저자
이보연 李寶姸   지음
발행일자
2016.06.30
기본언어/원문언어
한국어/한국어
수록면/분량
225-254쪽 / 총 쪽
국문초록
외국어초록
The aim of this paper is to identify the institutional characteristic of the art in the early Republic of China (ROC) based on its art policy, and to trace back the positions and response measures of major art schools at the time. In the early days of the ROC, the Beijing government, with a half-feudal, half-colonial nature, was obsessed with the economic and material values of art to secure its regime that it lacked awareness of the development of art for a modern nation-state. Also, due to failure in unification of power and financial management, control policies weren’t appropriately implemented and the modernization of its art was handed over to privte professional groups. The art schools in the early ROC era showed varied attitudes towards government policies. First, the Beijing School of Fine Arts took an adaptive stance and ended its short history of only four years. Then, the Shanghai College of Fine Arts actively promoted the arts and educational projects for the construction of a modern nation-state and complemented the absence of government policy, but came into a conflict with the government while pursuing their continuous modernization route. In the late 1920s, the Beijing National College of Arts was reopened by reflecting public opinion and also resisted the government's policy in response to civil society. As such, art schools with anti-government tendencies exerted more influence in the art during the early ROC, and a public movement-led art culture for the evolution of society and civilization prevailed over a government-led art culture. This is the most prominent characteristic of the art of this period that is distinct from other regions of Asia in the same period.
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42_9.pdf