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清末民初的中国画,出现了两大流派的论战,他们分别是以徐悲鸿为代表的改良派和以陈师曾为代表的传统派。以徐悲鸿为代表的改良派认为,中国近世之画衰微弱败,已近末途,故而需要学习西方,求写实精神、以“素描为一切造型艺术之基础”等。以陈师曾为代表的传统派,主张固守传统、从艺术本体去分析和观照文人画的技巧、要素和形体观念。且不论二者的孰优孰劣,就其产生原因与背景,我们在这里做一简单探寻。为了概念明晰,在讨论传统派与改良派的论战之前,我们这里简单界定一下本文的一个关键词,即“中国画”。
In the late Qing Dynasty and the early Republic of China, Chinese paintings appeared controversy between the two genres. They were the reformists represented by Xu Beihong and the traditionalists represented by Chen Shizeng. The reformists represented by Xu Beihong think that in recent centuries China’s painting has been declining slightly and is nearing the end. Therefore, it is necessary to study the West and seek realism in order to “sketch the basis of all plastic arts”. The traditional school represented by Chen Shizhong advocated sticking to tradition, analyzing and observing literary painting skills, elements and physical concepts from the artistic noumenon. And no matter which of the two is better, its causes and background, we do a simple search here. In order to clarify the concept, before discussing the controversy between the traditional school and the reformist school, we briefly define a key word in this article, namely, “Chinese Painting.”