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|Title:||超越 “画意” : 美术摄影中的媒介、认同与现代性（1912-1937） = Beyond pictorialism : media, Identity and Modernity in Art Photography (1912-1937)=||Authors:||孔令俐 Kong, Lingli||Keywords:||Humanities::Language::Chinese
Visual arts and music::Photography
|Issue Date:||2020||Publisher:||Nanyang Technological University||Source:||Kong, L. (2020). 超越 “画意” : 美术摄影中的媒介、认同与现代性（1912-1937）= Beyond pictorialism : media, identity and modernity in art photography (1912-1937). Doctoral thesis, Nanyang Technological University, Singapore.||Abstract:||本论文重思了“美术摄影”概念在中国的形成和发展，在此过程中，还探讨了“美术摄影”背后所蕴含的媒介属性，身份认同以及中国社会对现代性的追求。“美术摄影”的概念本是由西方“画意摄影”翻译而来，然而在本土化的过程中，“美术摄影”与“画意摄影”并不能完全等同。本文通过回顾十九世纪中期之后摄影传入中国的过程，细致地梳理了早期摄影与绘画的关系，并且将“美术摄影”放在二十世纪初期美术变革和大众旅游的社会语境中，探讨了中国“美术摄影”的发展某种程度上顺应了当时社会对视觉再现的诉求。本文还通过深描的方式探讨了三个代表性的个案，刘半农、郎静山、金石声可以说代表了中国摄影师对美术摄影的不同态度和实践，美术摄影的背后不仅是摄影师的审美趣味和偏好，还夹杂着多重社会身份以及时代巨变中的个人与国家。本论文通过整理相关时期的期刊杂志、年鉴刊物和个人影集等材料，探讨了美术摄影是如何介入文艺的生产与消费的，同时也再现了不同身份认同的建构和诉求，以及反映出当时中国社会对于如何走向现代的探索。The artistry of photography has been a controversial topic since the corresponding technology has been invented. In order to make the photography to be accepted as an art, the pictorialism, acting as a pioneer, has established a connection between the photography and painting. The concept of “meishu sheying” (art photography) in China is not completely the same with the pictorialism photography in western context. This thesis revisits the relationship between “pictorialism photography” and “art photography” that has not been clarified yet and discusses the media attributes, cultural identity and the pursuit of modernity in Chinese context. This thesis focuses on the localization of pictorial photography in China as well as its underlying causes, which is based on the exploration of the social context and representative case studies at that time.The thesis also reviews the history of Chinese photography after the mid-nineteenth century and examines how the art photography strikes a balance between Chinese and Western paintings. The thesis also puts art photography in the social context of culture reform and mass tourism in the early twentieth century and explores how the development of Chinese art photography responses to the society's demand for the visual culture at that time. Art photography is not only the reflection of photographers’ personal aesthetic taste and preference. It also represents the multiple cultural identities and purposes in the continuously changing times. By studying three representative cases from Liu Bannong, Lang Jingshan, and Jin Shisheng with the method of thick description, the thesis also discusses how these different Chinese intellectuals who were amateur photographers expressed their ambitions and expectations for national rejuvenation with photographic practices.Based on the analysis of journals on photography, yearbooks, personal albums and other visual materials, the thesis also explores the following two aspects: 1) how art photography intervenes with the production as well as consumption of fine art and mass culture; 2) how the amateur photographers shaped their identities and responded with the appeal of “modernity” in the early 20th century.||URI:||https://hdl.handle.net/10356/145913||DOI:||10.32657/10356/145913||Rights:||This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0).||Fulltext Permission:||open||Fulltext Availability:||With Fulltext|
|Appears in Collections:||SoH Theses|
Updated on Jun 15, 2021
Updated on Jun 15, 2021
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