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在风云变幻的20世纪三四十年代的中国,力除积弊、革故鼎新的呼声如奔腾大潮,一扫文艺界之沉闷颓势,也给中国画坛带来了久违的新风。这个时期,涌现出了一大批以批判眼光重新审视传统的画家学者,他们在科学民主的号召下探究西方现代美术研究方法,积极融合东西方艺术之所长,不懈寻求着中国画的未来和出路。在他们中间,精研绘画理论者有之,从事改良实践者有之,而另有一种,秉承传统文人之风骨,遍读古今中西之精论,糅合美学
In the ever-changing China in the 1930s and 1940s, despite its long-standing detriments, the new voice of reform and opening up, such as the tide of Pentium, sweeping away the downturn of literary and art circles, has also brought a long-lasting fresh air to Chinese painting circles. During this period, there emerged a large number of painter and scholar who reexamined their traditions critically. They explored the methods of Western modern art research under the guidance of the science and democracy, actively integrated the director of eastern and western art, and made unremitting efforts to seek the future and exit of Chinese painting. Among them, there are those who have studied painting theory, engaged in the practice of improvement, and another, upholding the strength of the traditional literati, reading the ancient and modern Chinese and Western essays, blending aesthetics