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今年是岭南派名画家,原广东画院副院长方人定(1901——1975)诞生100周年。在20世纪的中国画坛上,方人定曾经以相当前卫的国画革新者姿态出现。作为专业画家兼理论家的方人定,1920年代起便不断发表文章阐述自己的绘画观念,他呼喊“艺术革命”,抨击当时的中国画坛“墨守古法”是“逃避现实”,“明明是封建遗产”等等,甚至嘲笑守旧的国画家为“抱着木乃伊接吻”。然而,正如80年代以来一些评介方人定的文章所指出的,他在晚年时期却“表现出回归传统的强烈意愿”(徐奇、彭一诚《方人定的创新理论和绘画实践》.《杂云》,总第44期),笔者十多年前的一篇抄文中也曾谈及此点《见《美术史论》,1986,4)但当时未及多作述论。今此文拟着重谈一谈他晚年的此一变化。虽然,他的这一思想转变始于40年代中后期,但突出地表现出来是在60年代以后,因篇幅之限,本文仅能以1960年代为重点。不过,为把来龙去脉交代清楚,还需对50年代中以来的背景略作介绍。 50年代中,中国社会发生了一场政治
This year is a famous painter in Lingnan. The 100th anniversary of the birth of Fang Rending (1901-1975), former vice president of Guangdong Art Academy, was this year. In the 20th century Chinese painting society, Fang Rending once appeared in a rather avant-garde style of Chinese painting innovators. As a professional painter and theoretician, he set forth his own concept of painting ever since the 1920s. He shouted “an art revolution” and attacked the Chinese painting scene of “defending the ancient law” as “evade reality”. “Obviously Feudal heritage ”and so on, and even ridiculed the conservative country painter“ holding a mummy kiss. ” However, as pointed out in some articles by some reviewers since the 1980s, he “showed a strong desire to return to tradition in his later years” (Xu Qi and Peng Yicheng, “The Theory of Innovation and Painting Practiced by Parties”). Cloud “, No. 44 in total). I also talked about this point in an essay written more than a decade ago.” See Art History ", 1986, 4). This article is intended to focus on this change in his later years. Although his thought transformation began in the late 1940s, it was prominently shown after the 1960s. Due to space limitations, this article can only focus on the 1960s. However, in order to clarify the ins and outs, a brief introduction to the background since the mid-1950s is still to be made. In the 1950s, a politics took place in Chinese society