论文部分内容阅读
一方面,从外部政治环境上来讲,明治维新以来,特别是随着中日甲午战争的结束,昔日的中华帝国走向衰落,中华文化在亚洲的领导者地位开始倾覆。西方强势文化的渗入使日本开始追求经济独立和文化自立,产生排清思想,中国水墨画(南画)受到排斥。另一方面,人们认为水墨画在对现实题材的表现上具有局限性,是只“嬉笑怒骂,抚愈不平之事”。福泽榆吉的《脱亚论》唤醒了日本与强者为伍的民族性格。美国学者诺洛萨对“真诚之画”的阐述等,共同开辟了日本画诞生的土壤。文章着力描写从冈仓天心的艺术选择到狩野芳崖、桥本雅邦的教学体系的创立,从横山大观领袖地位的确立到后来奥村土牛的艺术实践等内容。波浪壮阔百余年间,日本画在西方油画与东方水墨画(南画)之间发展成熟起来。这也是日本民族在对待外来文明之时,通过消化,吸收而得到的另一个文化成果。
On the one hand, from an external political environment, since the Meiji Restoration, especially with the end of the Sino-Japanese War of 1894, the former Chinese imperialism has declined and the position of Chinese culture in Asia has begun to overthrow. The infiltration of a strong Western culture led Japan to pursue economic independence and cultural independence and create a clear-cut ideology. The Chinese ink painting (South Painting) was excluded. On the other hand, people think that ink-and-wash painting has limitations on the performance of the realistic theme and is only “ridiculed and hesitated”. Fukuzawa Yuji’s “off Asia theory” awakened Japan and the strong national armed forces. The American scholar 诺洛萨 explained the “painting in good faith ” and jointly opened up the soil for the birth of Japanese painting. The article focuses on the description of the art choices from Okagura Tengen to the founding of Yasuhiro Kaori and Hashimoto Yasuharu, the establishment of Yokoyama Grand Leader and the later Okumura cattle. Over the past hundred years, Japanese paintings have developed and matured between western oil painting and oriental ink painting (South Painting). This is another cultural result obtained by the Japanese nation in digesting and absorbing foreign civilizations.