以國畫的名義－潘天壽和大眾媒體

在二十世紀，中外文化衝撞下「國畫」意識的日漸成型，化為社會共識，與大眾媒體互為表裡。藉此，出身於現代師範教育的潘天壽（1897－1971），以教學為本，先後在縣立高小、私立和國立藝術院校教授、研究「國畫」。從1920年代初到1960年代前期，頻繁現身大眾媒體之中。身為十九世紀碑學金石運動的傳承者，潘天壽親歷了1920年代上海的「國畫復活運動」，由此介入並引導二十世紀中葉世界現代藝術的發展。不論是藝術事件、廣告布露、宣傳評價、詩畫作品、還是史論文字，他大都以「國畫」的名義出現，見證和創造歷史，特別在1940年代和1960年代兩度擔任國立藝術院校長期間，構想和規劃其總體發展，牽涉和藝術市場與政治環境的複雜關聯，作出傑出貢獻。新聞是歷史的長編。由中外新聞資訊數據庫塑造的大眾媒體中的潘天壽形象，可分為民國「國畫名家」與人民共和國「畫壇師首」兩個時期。在跨語境的範疇中，本文將通過該形象的演變，重新檢視「國畫」如何在急劇動盪的國內外形勢下成型和衍化，同時顯現其在世界現代藝術史發展中的特性與共性。

關鍵字

潘天壽；國畫；大眾媒體

並列摘要

Stemming from the conflict between traditional and modern art in different cultures, the concept of guohua (the National-Style Painting of China) had been conceived and consolidated in mass media since the early twentieth century. After graduating from a normal college, Pan Tianshou (1897-1971) taught guohua in middle schools as well as private and national art academies throughout his career. Pan inherited the legacy of the nineteenth-century epigraphic movement, which was coined by Huang Binhong (1865-1955) as the ＂Revival of Chinese Painting during the Daoguang-Xianfeng Era (1821-1861),＂ and later witnessed the ＂Revival Movement of Guohua＂ in the early 1920s Shanghai. The latter movement led to a rendezvous between the ＂Permanent Art Revolution＂ of the West since the nineteenth century and its Chinese counterparts in the twentieth century. His directorship of the National Art Academy in the 1940s and 1960s left significant impact on the development of guohua of modern China. Pan Tianshou appeared in mass media both in Chinese and foreign languages as a ＂famous painter＂ in the Republican era and as the ＂headmaster of painting circles＂ in the People's Republic of China. Whether in ads, event reports, publications, or critiques related to Chinese art and society, such a recognizable media presence was mostly known in the name of guohua. Pan's media exposure, being the first draft of history, portrayed the changing image of a decisive period for modern Chinese art from the 1920s to 1960s. By reconstructing the relationship between Pan Tianshou and mass media in a cross-contextual paradigm, this article examines how guohua took shape in its modernization under both domestic and international circumstances during a transformational movement of twentieth-century China.