羅欣欣. / 論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998. / 附參考文獻. / 中英文摘要. / Luo Xinxin. / 序言 --- p.1 / 論文摘要 --- p.2 / 插圖目錄 --- p.5 / 緒論 --- p.14 / Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949) / Chapter I. --- 毛澤東政治地位的確立 --- p.28 / Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30 / Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31 / Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32 / Chapter 2. --- 晉西北木刻工廠1941 --- p.33 / Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34 / Chapter 4. --- 赤色郵政 1944 --- p.40 / Chapter 5. --- 中共黨報 1945 --- p.41 / Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43 / 小結 --- p.47 / Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966) / Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53 / Chapter 1. --- 中華人民共和國的成立194 9 --- p.53 / Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54 / Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56 / Chapter 2. --- 土地改革 1950-1952 --- p.59 / Chapter a. --- 新年畫創作運動 --- p.59 / Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66 / Chapter a. --- 革命歷史畫創作計劃 --- p.67 / Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70 / Chapter 1. --- 全盤蘇化1950-55 --- p.70 / Chapter a. --- 蘇聯宣傳畫的影響 --- p.70 / Chapter b. --- 蘇聯油畫的影響 --- p.72 / Chapter c. --- 蘇聯領袖像選材的影響 --- p.74 / Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76 / Chapter 1. --- 第一個五年計劃1953-1957 --- p.76 / Chapter a. --- 中國畫的改造 --- p.78 / Chapter b. --- 油畫民族化 --- p.81 / Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84 / Chapter 3. --- 社會主義教育運動1962-65 --- p.88 / Chapter a. --- 革命歷史繪畫運動 --- p.59 / 小結 --- p.91 / Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976) / Chapter I. --- 文化大革命發動的原因 --- p.105 / Chapter 1. --- 文化大革命序幕：海瑞罷官1965 --- p.105 / Chapter 2. --- 毛澤東個人崇拜 --- p.107 / Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107 / Chapter 1. --- 紅衛兵運動1966 --- p.107 / Chapter a. --- 紅衛兵藝術 --- p.108 / Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113 / Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115 / Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117 / Chapter a. --- 工農兵繪畫運動 --- p.118 / Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124 / Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125 / 小結 --- p.126 / Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997) / Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132 / Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132 / Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133 / Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134 / Chapter c. --- 毛主席紀念堂的落成 --- p.136 / Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137 / Chapter 2. --- 傷痕藝術1978-1979 --- p.139 / Chapter 3. --- 星星美展1979-1980 --- p.140 / Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141 / Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141 / Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143 / Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151 / Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152 / 小結 --- p.156 / 結語 --- p.161 / 附錄一 ：1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1 / 2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6 / 附錄二：參考書目 --- p.2-1 / 附錄三：現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1 / 附錄四：圖版 --- p.4-1

The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.