论文部分内容阅读
对于以写实主义、历史画和带有寓意的动物画出名的徐悲鸿,学界一般集中关注于他在巴黎学习时期的经验,以及法国学院派艺术对他的影响。至于他前往巴黎之前,曾于东京旅居半年的经历则几乎略过不谈。~[1]主要原因是徐悲鸿本人在自述中对此并没有多少着墨,蒋碧薇的回忆录也仅注重描述她对日本生活的不适应之处,对我们了解徐悲鸿在日本的所见所学帮助甚少。本文重新检视徐悲鸿自述中对日本这段经验的描述,深入了解他所提及的两位日本艺术家,同时比对当年日本艺术界的期刊和展览会讯息等出版物,尝试建构并思考徐悲鸿在日本的学习经验,以及这段经历与他之后在巴黎所做的艺术抉择两者间的关联。本文所关心的问题是,从1917年5月到11月之间,徐悲鸿在东京看到了什么?为了解这个问题,我们必须从徐悲鸿在1930年所
For Xu Beihong, famous for realism, historical paintings and allegory animals, the academic community generally focuses on his experience of studying in Paris and the influence of French academic art on him. As for his visit to Paris before, had lived in Tokyo for half a year’s experience is almost ignored. ~ [1] The main reason is that Xu Beihong himself did not write much about it in this memoir. The memoir of Jiang Bivi-mei also only focused on describing her incommensurability with Japanese life, and it did little to help us understand what Xu Beihong learned in Japan . This essay reexamines Xu’s description of Japan in his self-report, in-depth understanding of the two Japanese artists he mentions, and comparison of publications of journals and exhibitions of the Japanese art world that year to try to construct and consider Xu Beihong’s The learning experience, and the connection between the experience and the artistic choices he made in Paris later. The concern in this article is what Xu Beihong saw in Tokyo from May to November 1917. To understand this problem, we must learn from Xu Beihong’s position in 1930