摘要
新文化运动时期的科学、写实观念对中国画的现代转型具有重大意义,当时提倡将科学精神引入传统中国画,目的在于建立绘画与现实的紧密关系,内含着对中国画的现代价值的诉求;而反对将写实引入中国画,则是从中国画自身的审美传统出发,认为科学客观化思维方式与重主观表现的中国画是相悖的,他们将中国画置于世界艺术之林,在中与西、传统与现代交汇的视域中发掘其存在的价值和意义,实际上是从另一向度探寻传统中国绘画的现代转型之路。本文在重新考察两者关系时,更注重反向思考中国画在现代化进程中是如何立足于中国艺术审美根基之上来回应新文化运动的。
The concept of science and realism during the New Culture Movement is of great significance to the modern transformation of Chinese painting. At that time, it advocated to introduce scientific spirit into traditional Chinese painting, aiming at establishing a close relationship between painting and reality, including the appeal for the modern value of Chinese painting. Meanwhile, it opposed to introduce Realism into Chinese painting, as starting from the aesthetic tradition of Chinese painting itself, it deemed that the scientific objective thinking mode was contrary to that of Chinese painting which attaches great important to the subjective expression. They put Chinese painting in arts of the world, explored the value and significance of its existence in the intersection of Chinese and Western world, tradition and modernity, and actually explored the road of modern transformation of traditional Chinese painting from another dimension. When reexamining the relationship between them, this paper pays more attention to the reverse thinking on how Chinese painting responds to the New Culture Movement based on the aesthetic foundation of Chinese art in the process of modernization.
出处
《美术》
CSSCI
北大核心
2021年第4期6-12,共7页
Art Magazine
基金
国家社科基金“文化变局中的现代国画家诗文研究”(项目编号:18BZW165)的阶段性成果。
关键词
传统中国画
科学
写实
写意
traditional Chinese painting
science
Realism
Xieyi
