丰子恺“中国美术优胜论”对中西绘画的比较  

The comparison between Chinese and Western paintings of Feng Zikai's “superiority of Chinese art” theory

作　　者：詹利敏[1] ZHAN Limin(School of Literature, Anhui Normal University, Wuhu 241000, Anhui, China)

机构地区：[1]安徽师范大学文学院,安徽芜湖241000

出　　处：《河南理工大学学报（社会科学版）》2019年第2期65-70,共6页Journal of Henan Polytechnic University:Social Sciences

基　　金：安徽师范大学研究生科研创新与实践项目(2018kycx011)

摘　　要：丰子恺在对中西绘画的表现与传达进行比较的基础上,从技法与思想两个方面提出了"中国美术优胜论"。从表面上看,"中国美术优胜论"的提出是为了宣扬"本民族优越论",但从更深意义上探索,丰子恺这一理论的提出是基于近代西洋画中国化的客观事实,从中国画技法的独特性与思想的优越性两方面对中国画独立地位进行公正地维护。在"中国美术优胜论"中,丰子恺对中西绘画的比较,既是对中国传统画论的一脉相承,又是对西洋画论的兼容并蓄。Feng Zikai compared the manifestation and communication of Chinese and Western paintings from the aspects of techniques and ideology, and proposed the theory of “superiority of Chinese art”. On the surface, the theory of “superiority of Chinese art” advocated ethnocentrism. However, in a deeper sense, his theory is based on the objective reality that modern Western paintings has been sinicized, and stands up for the independent status of Chinese paintings in the aspects of uniqueness of techniques and superiority of ideology. Feng Zikai s comparison between Chinese and Western paintings is not only the inheritance of epochal character in traditional painting theory, but also the incorporation of Western painting theory.

关 键 词：丰子恺 中西绘画比较 中国美术优胜论 技法与思想 

分 类 号：I01[文学—文学理论]