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在中国近现代美术史研究领域中,清末民初的美术是一个非常重要的组成部分。这一时期是中国社会和文化产生重大变化的时期。从根源上讲,清末民初的美术是在近代西方强势文化冲击下,本土文化与之对抗、吸纳、交融、互渗关系下的产物,是本民族传统艺术对外来文化、艺术所采取的各种态度与选择的结果。从影响上看,这一时期的美术又为现代中国艺术奠定了基础,为现代中国艺术发展的多种可能性提供了重要的启示。对于如此一个承前启后而又丰富多彩的美术发展时期,近年来已逐渐受到关注,尤其对清末民初三大绘画重镇之一的北京画坛的研究格外引人注目,对北京画坛的画家和流派的研究成为重构近现代美术史原境的重要切入点。
In the field of the study of the history of modern Chinese art, the art of late Qing and early Republic of China was a very important part. This period is a time when major changes have taken place in Chinese society and culture. From a fundamental point of view, the art of late Qing and early Republic of China was the product of the relationship between local culture and confrontation, absorption, blending and mutual infiltration under the impact of the strong Western culture in modern times. The attitude and choice of results. From the perspective of influence, art in this period laid the foundation for modern Chinese art and provided important inspiration for the various possibilities of the development of modern Chinese art. In recent years, attention has been gradually paid to such a beautiful and prosperous period of art development. In particular, the research on Beijing painting circles, one of the three major painting centers in the late Qing Dynasty and the Republican period, has drawn special attention. The research on painters and schools in Beijing’s painting circles Become an important starting point for the reconstruction of the original state of modern art history.