[1]徐习文.对西画与民初画坛思想演变之关系的反思[J].常州大学学报(社会科学版),2016,17(05):118-126.[doi:10.3969/j.issn.2095-042X.2016.05.014]
　Xu Xiwen.Reflections on Relationship between Western Paintings and Ideological Evolution of the Painting Circle in the Early Republic of China[J].Journal of Changzhou University(Social Science Edition),2016,17(05):118-126.[doi:10.3969/j.issn.2095-042X.2016.05.014]
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对西画与民初画坛思想演变之关系的反思()
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常州大学学报(社会科学版)[ISSN:2095-042X/CN:32-1821/C]

卷:
第17卷
期数:
2016年05期
页码:
118-126
栏目:
艺术学研究
出版日期:
2016-10-20

文章信息/Info

Title:
Reflections on Relationship between Western Paintings and Ideological Evolution of the Painting Circle in the Early Republic of China
作者:
徐习文
Author(s):
Xu Xiwen
关键词:
西画;  民初画坛;  美术;  写实;  现代主义;  思想演变
Keywords:
western paintings;  the painting circle in the early Republic of China;  arts;  realism;  modernism;  ideological evolution
分类号:
J202
DOI:
10.3969/j.issn.2095-042X.2016.05.014
文献标志码:
A
摘要:
民初画坛思想演变的一个重要表征是西方外来语汇如“美术”“写实”等逐渐取代中国传统画论的“图真”“气韵生动”等,与此相关的是“美术革命”“复兴中国画”、现代艺术运动等艺术思潮涌动。这种思想演变植根于中西绘画优劣论,因而也是中西文化矛盾的凸显和文化竞争的重要组成部分。但是,西画在竞争中是有备而来的,中国画则逐渐认识到“争辩”之重要性,从而在无意识中堕入西画思维方式,导致中国画失去文化立足点,加上更多层次的心态紧张而步入激进化的轨道。随着艺术革新的变化,中国传播西画的角色逐渐由西方传教士过渡到中国画家,中、西绘画间形成一种层累堆积的胶着,最终民初画坛的西画思潮也成了“中国画”的一部分。
Abstract:
One significant feature of ideological evolution of the painting circle in the early Republic of China is that traditional Chinese painting theories like “true figure” and “vivid tone” were replaced by western expressions like “arts” and “realism”. Similarly, there emerged some artistic ideological trends like “fine arts revolution”, “revival of Chinese painting” and modern art movement. This ideology lied in the theory of good and bad about Chinese and western paintings, which was the main display of contradictions between Chinese and western cultures and also an important part of cultural competition. However, western paintings were more prepared in the competition. Chinese paintings gradually realized the importance of “argues”, so they unconsciously followed the western thinking mode. As a result, Chinese paintings lost their foothold and with multi-level psychological stresses, they stepped into a radical track. With changes of artistic innovation, the role of spreading western paintings transformed from western missionaries to Chinese painters. The accumulated ankylosis formed between Chinese and western paintings. Finally, the western ideology of the painting circle in the early Republic of China became a part of “Chinese paintings”.

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备注/Memo

备注/Memo:
作者简介:徐习文,东南大学艺术学院教授,博士生导师。
更新日期/Last Update: 2016-10-10