丁衍鏞後半生（1949-78）的藝術奮鬥：香港、國民黨與流離交織的歲月

Abstract

丁衍鏞（1902-78）是中國20世紀重要的現代藝術家。他出生於廣東茂名，青年時代赴東京美術學校留學，回國後從事藝術創作、擔任教職及公職，足跡遍及上海、廣州、重慶等地。然而1949年大陸易幟之際，他的人生遭遇劇烈轉折。他隻身來到香港，失去工作和穩定的收入，又接連遭受母親、妻子、女兒去世的打擊。適逢美蘇冷戰，香港在特殊的地緣政治格局下成為資本主義陣營的反共前線。轉移到臺灣的國民黨政權，與隔海相望的中國共產黨政權針鋒相對，以中華文化的正統繼承人自許，先是在臺灣發動一連串的思想動員，挪用歷史資源達成政治宣傳目標，再透過學校教育和藝文活動等管道，將反共「中華文化」的輸出到香港乃至海外華人地區，以克服外交上的不利處境，擴大自身的影響力。面對前所未有的時代變局，丁衍鏞從逆境中奮起，憑藉早年在陳濟棠陣營中的人脈，在香港社會獲得新的自我定位，進而重新回到大學講壇。但在利用國民黨資源的同時，他的藝術觀點又從根本上有別於國民黨的政治宣傳。透過他的例子，本文試圖跳脫「藝術為政治服務」和「為藝術而藝術」的二分法，分析20世紀政治勢力與藝術家、意識形態與藝術創作之間錯綜複雜的關係。

Ting Yin Yung(Ding Yanyong,1902-78) was one of the most important modern artists in 20th-century China. Born in Maoming, Guangdong, he studied at Tokyo Fine Arts School in his youth. After returning to China, he worked as a professional artist, art educator and cultural official, traveling extensively in Shanghai, Guangzhou, Chongqing, and other cities. The upheaval of 1949 marked a turning point in his life. He fled to Hong Kong alone, losing both his livelihood and financial stability, and was further devastated by the deaths of his mother, wife, and daughter. During the Cold War, Hong Kong was situated on the frontier between capitalism and communism due to its unique geopolitical role. With the Chinese Communist Party in control of the mainland, the Kuomintang authority, which had been forced to relocate to Taiwan, launched a series of ideological campaigns, appropriating historical resources to legitimize itself as the true inheritor of Chinese tradition. At the same time, to overcome diplomatic isolation and to expand its influence, it promoted the anti-communist “Chinese culture” through education and cultural programs aimed at Hong Kong and overseas Chinese communities. In such a volatile environment, Ting overcame personal adversity, drawing on networks from his earlier involvement with Chen Jitang’s regime to reestablish himself in Hong Kong. Eventually, he managed to teach at postsecondary colleges. Despite his Kuomintang connections, his artistic perspectives remained distinct from Kuomintang’s political propaganda. Addressing Ting’s case, this dissertation aims to transcend the binary of “art serving politics” versus “art for art's sake,” to explore the complex relationship between political power, ideology and art in the 20th century context.