写实主义与中国现代绘画  

Realism and Modern Chinese Painting

作　　者：卢士刚[1] 

机构地区：[1]青海师范大学艺术系,青海西宁810008

出　　处：《海南师范学院学报（社会科学版）》2002年第3期130-132,共3页

摘　　要：2 0世纪初 ,对中国传统绘画进行改造的诉求 ,就深深地卷入了中国社会现代化的情境之中。从西方艺术中寻求资源 ,借以革除或替代中国绘画因因相袭的窠臼 ,逐渐形成一种广泛的共识。在这个过程中 ,西方写实主义原则的普遍适用 ,是中国传统绘画现代化改造的重要标志。写实主义中的再现因素使中西绘画在 2 0世纪实现跨文化沟通成为可能 ;在 2 0世纪初 ,由照相术的流行 ,写实主义绘画在中国才具备了普遍的接受基础 ;写实主义补课 ,是中国绘画走向现代化的开始 ,同时又是艺术进化论圈套 ,也正是在谋求进化出路的过程中 。Since the early 20th century, the request for reforming the traditional Chinese painting has been under way in the context of the social modernization process of China, for it has been widely acknowledged that defects in traditional Chinese painting should be eliminated by seeking inspirations from the western art. During such a process, the common application of western realism principles in Chinese painting has constituted the key brand of modernized reform on traditional Chinese painting. Some elements of realism makes possible the cross_cultural exchange of Chinese and western painting in the 20th century whereas the popularity of photography in the early 20th century leads to the acceptance of realism painting in China. However, while the western realism has helped modernize Chinese painting, it is a trap of art evolution concept, which has caused Chinese painting to lose its individuality.

关 键 词：写实主义 艺术进化论 中国现代绘画 

分 类 号：J202[艺术—美术]