以“传统”开创“现代”:艺术史叙事中被遮蔽的民国初年北京画坛考

发布时间：2018-06-19 22:04

本文选题：陈师曾 + 姚华　；参考：《文艺研究》2016年12期

【摘要】：如今,几乎所有关于中国近现代艺术史的撰写,都无法离开作为"新文化运动"之组成部分的"美术革命论"这一前提。此论是1919年由陈独秀在一篇简短的书信体文章中提出来的,其核心观点是要以西方的写实主义来改造所谓"落后"的中国绘画的"传统"。现在,学界普遍认为这是对20世纪艺术史影响深远的一个口号。然而,本文通过研究发现,这一"美术革命论"提出之后,在长达六十年的时间内无人响应,它的"巨大影响"事实上是1985年以后由中国学者建构起来的,目的是为当时正在进行的国画论争追寻渊源。这种建构导致的结果就是:在拥有政治"正确性"的"革命论"面前,许多艺术家,如陈师曾、姚华、金城等人,被错误地贴上了保守派的标签,他们所开创的民国初年北京画坛的"艺术之盛",便被遮蔽了。事实上,正是这些被不公正地划定为保守身份的艺术家,是开创"现代"中国艺术的先驱。
[Abstract]:Nowadays, almost all the writing of Chinese modern art history can not leave the premise of "art revolution" as part of the "New Culture Movement". This theory was put forward by Chen Duxiu in a short epistolary article in 1919. Its core point is to transform the "tradition" of the so-called "backward" Chinese painting with Western realism. It is now widely regarded as a slogan that has a profound impact on the history of art in the 20 th century. However, through the research, this paper finds that after this "Art Revolution" was put forward, there was no response within a period of 60 years, and its "enormous influence" was actually constructed by Chinese scholars after 1985. The purpose is to search for the origin of the debate on Chinese painting that was going on at that time. The result of this construction is that many artists, such as Chen Shizeng, Yao Hua, Jincheng and others, have been wrongly labelled as conservatives in front of the "revolutionary theory" of political correctness. In the early years of the Republic of China, the art of the Beijing painting world was obscured. In fact, it was these artists who were unjustly classified as conservatives and pioneers of modern Chinese art.
【作者单位】：清华大学建筑学院;
【基金】：教育部哲学社会科学研究重大课题攻关项目“中国历代绘画大系编纂与研究”(批准号:14JZD039) 中国文化走出去协同创新中心课题“美国的中国艺术史‘普林斯顿学派’研究”(批准号:XTCX150614)成果
【分类号】：J209.2

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