未完成的中国画改良

发布时间：2018-04-21 09:33

本文选题：中国画改良 + 徐悲鸿　；参考：《艺苑》2016年02期

【摘要】：20世纪初开始的中国画改良尚未完成,必须对当时的改良论进行改良。中国画之所以需要改良,是由于民国改良论者认识到中国画的衰败,尤其是明清时期的衰败,衰败的主要原因在于文人画及其摹古、守旧的作风。民国改良论者提出的问题是合情合理的,但他们解决问题的方式,即改良中国画的方案,却未必尽如人意。这正是中国画改良至今未能完成的根本原因之所在。民国改良方案有二:引进写实主义,融合中西艺术。对写实主义的固执与偏爱体现了民国时期的唯科学主义。就理论而言,将西画的写实嫁接在中国画的写生上,是相当牵强的。就实践而言,将西画的写实方法纳入中国画,也是颇为勉强的。今天我们应该继续深化改良,为此必须解决三个主要问题:要气韵还是要意境;要水墨还是要笔墨;要素描还是要书法。答案是前者。改良与创新不同,改良的方向是融合东西艺术,创新是中国画内部的创新,改良比创新更具现实性和生命力。继续深化改良,并不是把中国画改造成"不中不西的四不像",而是在"守住中国画底线"的前提下,充分地吸收西方绘画中的有益因素,最终实现"参合中西而成为新派"。
[Abstract]:The improvement of Chinese painting from the beginning of the 20 th century has not been completed yet, so we must improve the theory of improvement at that time. The reason why Chinese painting needs to be improved is that the reformists in the Republic of China realized the decline of Chinese painting, especially in the Ming and Qing dynasties. The main reason for the decline lies in the style of literati painting and its antiquated style. The problem raised by the reformists in the Republic of China is reasonable, but the way they solve the problem, that is, the scheme of improving Chinese painting, is not always satisfactory. This is the fundamental reason why the improvement of Chinese painting has not been completed so far. The Republic of China's reform program has two: to introduce realism, the integration of Chinese and Western art. Stubbornness and preference for realism reflect the scientism of the Republic of China. Theoretically, it is rather far-fetched to graft the realism of western painting on the sketch of Chinese painting. In practice, the realistic method of Western painting into Chinese painting, but also quite reluctantly. Today we should continue to deepen the improvement, for which we must solve three main problems: whether to charm or artistic conception, to ink or to ink, to sketch or to calligraphy. The answer is the former. Improvement is different from innovation. The direction of improvement is to merge the east and west art, and innovation is the innovation of the interior of Chinese painting. Improvement is more realistic and vital than innovation. To continue to deepen the improvement is not to transform Chinese painting into "not in the west", but on the premise of "keeping the bottom line of Chinese painting", fully absorbing the beneficial factors in western painting, and finally realizing "joining China and the West and becoming a new school".
【作者单位】：厦门大学中文系;
【分类号】：J212

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