关于李铁夫的被遗忘研究
发布时间：2018-08-17 15:03
【摘要】：当油画传入中国之初,国人第一次在自己的土地上见到了这个完全不同于本土艺术的绘画种类,但油画毕竟是舶来品,中国的传统绘画与西方绘画无论是观念还是表达上都相差甚远,与其通过传教士教授的单薄的油画技法,不如负笈海外去学习去感受正统西方绘画。因此,19世纪末,在相对较为开放的广州、上海等通商口岸走出过大量海外留学的中国画家,他们不知疲倦的想要汲取西方绘画的每一滴精华。这些人中,最早出国的便是李铁夫。李铁夫作为有记载的我国目前为止第一位留洋的中国画家,其历史地位是毋庸置疑的,他在19世纪末便留学加、英、美三地,并且师承萨金特与威廉·切斯,由于这非同一般的师承关系,使得李铁夫的油画比起同时期甚至后一时期留洋的中国画家来看显得更为“纯正”与特别,但像他这样的历史地位与师承关系以及如此“正统”的西画修为,回国后竟会被美术界、社会所遗忘,这是一个非常值得深思并深究的问题,为什么会被遗忘?这一被遗忘事件是如何造成的?本文并不仅仅是为李铁夫“正名”,而是旨在通过李铁夫诸多被忽视的细节进行分析对比来找出被遗忘的原因;本文也不是一篇赞扬推崇李铁夫的文章,也旨在通过分析李铁夫的其人其事其作品让观者全面透彻客观的了解李铁夫究竟是何人,是怎样的人,现今对于李铁夫的文献资料既稀少又缺乏真实性,如果不对本就匮乏的李铁夫的文献资料现状加以整合梳理,或许我们所见到的李铁夫仍是那个位于中国近代美术史中的“方尖碑”,也仅仅是伫立在那里而已。对于李铁夫被遗忘这一事件的解析,我们能够看出一个并不同于美术史教科书中记载的那个“洋画先驱”李铁夫,他或许并不像美术史中的大师那样值得学习与膜拜,他的作品或许也没有那么一鸣惊人和惊世骇俗,但他作为第一位留洋的中国画家而言,其地位不应该被后世遗忘,他的绘画实践与艺术探索之路应该被记住,而我们更应该了解的是他为什么被遗忘,是什么导致他被遗忘,以及被遗忘这一事件和他一生的故事带给后世什么警示与启发,还有我们能从中学到什么。
[Abstract]:When the oil painting was first introduced into China, the Chinese people saw for the first time on their own land this kind of painting which is completely different from the local art, but the oil painting is after all imported. Chinese traditional painting and Western painting are very different in concept and expression. Instead of using the thin oil painting techniques taught by missionaries, it is better to study overseas to feel orthodox Western painting. So at the end of the 19th century, in the relatively open ports of Guangzhou and Shanghai, a large number of Chinese painters, who had studied abroad, tried tirelessly to absorb every drop of the essence of Western painting. Among these people, the first to go abroad was Li Tiefu. Li Tiefu, as the first recorded Chinese painter to study overseas in China so far, has no doubt about his historical status. He studied in Canada, England and the United States at the end of the 19th century, and was taught by Sargent and William Chase. As a result of this extraordinary relationship, Li Tiefu's paintings are more "pure" and special than those of Chinese painters who stayed abroad at the same time or even later. However, his historical position, his relationship with his teacher and his "orthodox" Western painting will be forgotten by the fine arts and society upon his return. This is a question worth pondering and studying deeply. Why is it forgotten?. How did this forgotten event occur? This article is not just about correcting Li Tiefu's name, but is aimed at analyzing and comparing Li Tiefu's many neglected details to find out why he has been forgotten. Nor is this article an article praising Li Tiefu. It also aims to provide a comprehensive and objective understanding of who Li Tiefu is and what kind of person Li Tiefu is through analysis of Li Tiefu's work. Nowadays, the literature on Li Tiefu is scarce and lacking in authenticity. If the literature of Li Tiefu, who is already scarce, is not consolidated, perhaps we can see that Li Tiefu is still the "obelisk" in China's modern art history, and it is just standing there. With regard to the analysis of Li Tiefu's oblivion, we can see that Li Tiefu, a pioneer of "foreign painting" recorded in an art history textbook, may not be as worthy of learning and worshipping as a master in art history. His works may not be so startling and shocking, but as the first Chinese painter to study abroad, his status should not be forgotten by later generations, and his painting practice and artistic exploration should be remembered. What we should know is why he is forgotten, what causes him to be forgotten, what warning and inspiration this event and his life story bring to future generations, and what we can learn from it.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
本文编号：2188022
[Abstract]:When the oil painting was first introduced into China, the Chinese people saw for the first time on their own land this kind of painting which is completely different from the local art, but the oil painting is after all imported. Chinese traditional painting and Western painting are very different in concept and expression. Instead of using the thin oil painting techniques taught by missionaries, it is better to study overseas to feel orthodox Western painting. So at the end of the 19th century, in the relatively open ports of Guangzhou and Shanghai, a large number of Chinese painters, who had studied abroad, tried tirelessly to absorb every drop of the essence of Western painting. Among these people, the first to go abroad was Li Tiefu. Li Tiefu, as the first recorded Chinese painter to study overseas in China so far, has no doubt about his historical status. He studied in Canada, England and the United States at the end of the 19th century, and was taught by Sargent and William Chase. As a result of this extraordinary relationship, Li Tiefu's paintings are more "pure" and special than those of Chinese painters who stayed abroad at the same time or even later. However, his historical position, his relationship with his teacher and his "orthodox" Western painting will be forgotten by the fine arts and society upon his return. This is a question worth pondering and studying deeply. Why is it forgotten?. How did this forgotten event occur? This article is not just about correcting Li Tiefu's name, but is aimed at analyzing and comparing Li Tiefu's many neglected details to find out why he has been forgotten. Nor is this article an article praising Li Tiefu. It also aims to provide a comprehensive and objective understanding of who Li Tiefu is and what kind of person Li Tiefu is through analysis of Li Tiefu's work. Nowadays, the literature on Li Tiefu is scarce and lacking in authenticity. If the literature of Li Tiefu, who is already scarce, is not consolidated, perhaps we can see that Li Tiefu is still the "obelisk" in China's modern art history, and it is just standing there. With regard to the analysis of Li Tiefu's oblivion, we can see that Li Tiefu, a pioneer of "foreign painting" recorded in an art history textbook, may not be as worthy of learning and worshipping as a master in art history. His works may not be so startling and shocking, but as the first Chinese painter to study abroad, his status should not be forgotten by later generations, and his painting practice and artistic exploration should be remembered. What we should know is why he is forgotten, what causes him to be forgotten, what warning and inspiration this event and his life story bring to future generations, and what we can learn from it.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
【参考文献】
相关博士学位论文 前1条
1 许以冠;正法·真意[D];中国艺术研究院;2013年
，本文编号：2188022
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