论文标题:民族绘画之路
The Development of National Chinese Painting
论文作者
论文导师 姜宝林,论文学位 博士,论文专业 美术学
论文单位 中国艺术研究院,点击次数 131,论文页数 123页File Size15336K
2008-04-01论文网 http://www.lw23.com/lunwen_253880797/
the New Zhejiang School;; the Two Peaks Theory;; the road of national Chinese painting;; tradition update;; line and ink
“五四”时期文艺界对以“四王”为代表的传统文人画的批判,主导了从“新文化运动”到抗日战争时期革命派绘画的艺术主张,进而引发了“艺术大众化”和“生活反映论”的艺术主张。与此同时,以维护传统之价值,强调以自我文化为基础,从传统中寻找发展脉络的艺术主张也相应产生。潘天寿的“中西绘画要拉开距离”和“双峰论”作为这一画学思想代表,在浙江美术学院的教学环境下得到持续性的发展。这一思想在二十世纪五六十年代徐悲鸿体系笼罩中国美术界的情况下,强调民族绘画语言与精神的双重特征,寻求与当时主流思潮的结合点,以开放而自信的心态在狭缝中寻求中国画的自我发展,在当时否定中国画传统的潮流中证明了民族绘画获得新生的可能性与必然性,并进而刺激产生了“新浙派”人物画的阶段性成果。这种追求与浙江美术学院教学体系紧密结合在一起,并一直影响到新时期浙江美术学院画家群体的创作追求,促生了以浙江美术学院画家群体为中心,力求“传统出新”、“以中化西”为画学主张的“新浙派”中国画。 据此,本文系统而全面地展开“新浙派”中国画的历史渊源与特征的研究。从学界对“新浙派”概念使用的混乱开始,论证了中国绘画史上“画派”概念演变与历史认知,以一种历史的、发展的、辩证的眼光来看待尚处于历史发展进程中的“新浙派”。在对“新浙派”的渊源研究上,作者从学院的学术环境、浙江的地域和人文因素等方面进行阐述。通过与明浙派、海派的比较使之明晰,进而结合了浙江美术学院与“新浙派”的特殊关系、林风眠与潘天寿艺术思想的比较、白社与“新浙派”的关系、“新浙派”人物画的突围及“新浙派”艺术思想进行了宏观考察,提出了“中西绘画要拉开距离”、“双峰论”和“两端深入”三个“新浙派”民族绘画思想的演变。在此基础上,通过花鸟、山水、人物三个中国画分科的代表画家的艺术成就的分析,对“新浙派”的实践之路进行了考察,以“觉醒与维护”、“内省与外化”、“通变与拓展”概括了“新浙派”绘画实践的表现形式,认为“新浙派”在“传统出新”上创造实现了民族文化的当代价值。其后,又从“文脉传承"——选择性临摹”、“‘取舍由心"——中国式写生”、“‘书画同源"——书法性笔墨”、“‘厚积薄发"——学者型画家”、“‘推陈出新"——开放性传统”五个特征对“新浙派”的艺术特征和教学特色进行了详细的描述。在文章的结语中,作者通过对“新浙派”在面对西方现代艺术和“现代化”主张时所坚守的民族绘画之路和强烈的使命感的肯定,并就“新浙派”中国画的绘画主张隐含着对民族文化的自信,依据中国画“传统”背后所依托的中国传统文化精神而相信中国画的传统在与外来文化体系的并存对照中仍将延续、发展,传统的民族性将重新被发现、认识,民族绘画之路将不断展示出自身的现实意义,激励后人“继往开来”。
May 4th period of the arts on the Four-Wang representative of the traditional literature painting of criticism, leading from the New Culture Movement to the Revolutionary War period that the art of painting, thus sparking idea of art for people and reflect life. At the same time, to preserve traditional values and emphasis on self-culture-based, in the search of development from the traditional context of art that also have a corresponding. As a representative of the thinking of Chinese painting, Pan Tianshou "keep distance between Western and Chinese painting" and the Two Peaks Theory under the teaching and learning environment sustainable development in the Zhejiang Academy of Fine Arts. The thinking in the 20th century, when Xu Beihong system over China art circumstances, stressed that national language and the spirit of the painting double features, and then seek a combination of mainstream idea, in order to open and self-confidence in the mentality of narrow crevices for the self-development of Chinese painting. At the time, the negative trend of the traditional Chinese painting in the painting that the nation was emerging possibility and inevitability. And thus stimulate a New Zhejiang School figure painting stage. This pursuit of Zhejiang Academy of Fine Arts and combination of the teaching system, have been continuing the development of the new era which has been affecting the Zhejiang Academy of Fine Arts creative artist groups seeking to promote hygiene to the Zhejiang Academy of Fine Arts artist groups to the centre of tradition update and absorb the West pating as advocated painting of the New Zhejiang School. Accordingly, the study systematic and comprehensive researched the history and characteristics of the New Zhejiang School. From the academic to the New Zhejiang School concept of the use of the chaos, demonstrated the history of Chinese painting, School and the evolution of the concept of historical knowledge, in a historical, and the development of dialectical look upon is still in the process of the development of the new Zhejiang School"s history. In the origins research, the academic environment from the College of Zhejiang"s geographical and cultural factors described, with the Ming Dynasty Zhejiang School, Shanghai School comparison to the clarity. Which combines the between Zhejiang Academy of Fine Arts and the New Zhejiang School, the close relationship the comparison of Lin Fengmian and Pan Tianshou thinking, the White Community and the New Zhejiang School relationship, the breakthrough of Chinese figure painting of the New Zhejiang School and artistic thinking of a macro inspection, proposed a "keep distance between Western and Chinese painting", the Two Peaks Theory and "in-depth at both ends of Western and Chinese arts " three national painting ideological ideas. On this basis, through the flowers and birds paintings, landscapes paintings, figures paintings three representatives achievements of the New Zhejiang School in the practice of Road to the analysis. Awakening and maintenance, introspection and external, and for change and development summed up the New Zhejiang School manifestations of the practice of painting that in the new tradition for achieving a culture of contemporary values. Subsequently, from the selective copying learning, the Chinese-style sketch painting, the calligraphy of line and ink, the scholar-painter, the opening traditional five characteristics of the New Zhejiang School art features described in detail. In the conclusion of the article, the author of the New Zhejiang School face the modern Western art and modernization advocated by the national painting uphold the road and strong sense of certainty, and on the New Zhejiang School, the Chinese Painting implies a culture of self-confidence, based on Chinese painting traditional by relying on behind the traditional culture and believe that the spirit of the traditional Chinese painting with outside cultures coexist control of the system will continue to develop. The traditional national character will be re-found and re-understanding, the road of national Chinese painting will continue show its practical significance.
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