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一、引言 众所周知,20世纪前期西方美术大规模东渐中土是以中国的美术留(游)学生的东寻西取、主动引进传播为主要特征的。笔者近十年来搜集整理的资料表明,20世纪前期的中国美术留(游)学生有三百余名,其中二分之一是到近邻日本,另一半则是远涉重洋赴欧美诸国留学(包括一些留学过日本后又转入欧美的留学生),且多数云集在法国留学。这些中国近现代早期的美术学子绝大多数怀着一腔抱负纷纷回国。正是由于他们在扶桑东瀛与西天取经,孜孜求学,成批的归来,中国美术才开始发生了空前变革——由封闭的古典形态开始走向革故鼎新、多元化、中西兼容的开放时代。
I. INTRODUCTION As we all know, the large-scale western art works of the early 20th century in the East came to East China based on the Chinese students who wanted to stay and take the initiative to introduce and spread the arts. Data collected and collected by the author over the past decade show that there were over 300 Chinese artbound students in the early 20th century, of which half were to neighboring Japan and the other half were far from overseas to study in Europe and the United States ( Including some overseas students who have studied in Japan and then transferred to Europe and the United States) and most of them are studying in France. The vast majority of these early modern Chinese fine arts students returned home after all with one ambition. It is precisely because of their study in Fusang EGL and Xitian, study diligently and come back in batches, Chinese art began to undergo an unprecedented change - from a closed classical form to a revolutionary era of diversification and compatible with China and the West.