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首先我们要大致梳理一下“五四”以来中国画的教学与创作的历史演变过程。从“五四”到现在,我认为中国的美术教学与创作大致可分三个阶段。第一阶段是从“五四”到20世纪30年代后期抗日战争爆发之前,这是“文艺革命”时期。“关于中国画如何发展”的讨论非常热烈,呈现出百家争鸣的状况,归纳起来大概有三种观点:第一种以徐悲鸿为代表,主张用西方的以科学为依据的写实绘画来改良中国画,反对晚清以来文人画的程式语言和价值观。第二种以林风眠为代表的表现主义,
First of all, we should roughly sort out the historical evolution of the teaching and creation of Chinese painting since the May 4th Movement. From the “May Fourth” to the present, I think that art teaching and creation in China can be roughly divided into three stages. The first stage was from the May Fourth Movement until the outbreak of the War of Resistance Against Japan in the late 1930s, which was the period of “literary revolution.” The discussion on how to develop Chinese painting is very warm and shows the situation of a hundred schools of thought contending. There are basically three kinds of views to sum up: the first is to use Xu Beihong as the representative, advocating the use of western science-based realistic paintings to improve Chinese painting, The Programming Languages and Values of Literati Painting since Late Qing Dynasty. The second manifestation, represented by Lin Fengmian,