裂变中的传承——以林纾的画学思想为中心  

The Inheritance in the Rupture——To LinShu's ideas of painting as the center

作　　者：徐习文[1] 谢建明[2] 

机构地区：[1]东南大学艺术学院,江苏南京210000 [2]南京艺术学院,江苏南京210013

出　　处：《南京艺术学院学报（美术与设计）》2014年第3期89-92,188,共4页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社科基金项目的阶段性成果之一(13BZ092)

摘　　要：20世纪中国画新、旧论争中关于"守旧派"的辨析和讨论是从对中国画的价值认知以及革新的态度来考量的。本文通过分析"激进派"心目中的"对手方"——"守旧"派林纾的画学思想,以其"画,乃美术一也"、"画家入手,必讲气韵"论,以及"尤以能变古人"论与"传统派"的异同进行反思。由此认为,林纾的画学思想其实也有"激进"的一面,他从绘画的本体论角度出发,以西画为参照,强调摒弃门户之见,向中国画内在传统寻找资源,采取以复古为革新的文化策略,不仅对断裂中国画传统的"激进派"有制衡作用,也开启了传统派对中国画现代性走向的思考,形成了民初画学思想断裂与延续并存的特征。In the debate between the Chinese Painting was innovation or tradition,the discuss of the Conservative Party was based on the understanding of the Chinese Painting's value and the innovation's attitude in the 20th century.This paper analyze Linshu's ideas of painting such as 'Drawing is one of the Painting ','Painting's Spirit','Change the ancients' s concept' and reflect the same and different of Traditional Party.So LinShu's concept that takes the Western Painting as the reference,finds the recourse from the Chinese Painting's inner tradition and takes the culture strategy which take the restoration as the renovation checks and balances the Radical Party.Furthermore,it opens the Traditional Party's think about the modernity trend of the Chinese Painting.

关 键 词：林纾 《春觉斋论画》 画学思想 

分 类 号：J01[艺术—艺术理论]