五四新文化运动与中国美术的现代转型  

The May Fourth New Culture Movement and Modern Transition of Chinese Art

作　　者：张晓凌 Zhang Xiaoling

机构地区：[1]华东师范大学美术学院 [2]上海美术学院

出　　处：《美术》2019年第5期6-17,共12页Art Magazine

摘　　要：五四既是力图建构以“民主”、“科学”、“进步”、“创造”为核心的新文化的运动,也是反帝反封建的爱国主义运动,这一运动将晚清以来的启蒙现代性推向了一个新高度。以五四精神为依托,中国美术开启了中心价值观的历史性转向,经由“科学化”、“大众化”之途径,迈向了由写意到写实、由雅入俗的价值重构过程,本文从“美术的启蒙与革命”、“科学写实主义思潮与实践”、“大众化思潮与实践”等角度,对五四以来美术的现代转型作了系统性的梳理与分析,对其内在逻辑作了深度的阐释。本文指出,对“全盘西化”、“反传统主义”的质疑与批判,深化了五四新文化运动的思想内涵。本文认为,在古与今、中与西的对话与互释中,建构现代性价值体系,正是五四留给当代最珍贵的文化遗产。The May Fourth Movement is not only a new cultural movement focusing on the conscruaion of ^democracy","science","progress" and "creation", but also a pacriodc movement against Imperialism and feudalism, which promoted the modernity of enlightenment scarccd from the late Qing dynasty to a new height. Based on the spirit in the May Fourth Movement, the core value of Chinese art began the historic cransicion in a Kscicntificw and "popular" way and the value reconstruction from the refined freehand brushwork to the popular realism. According to the systematic analysis of modern transirion since the May Fourth movement in the aspects of Kchc art enlightenment and revolution","the ideological trend and practice of scientific realism" and "the ideological trend and practice of the popularizacion" the paper also makes an thorough interpretation on its internal logic It should be noted that the questioning and criticizing of "wholesalc westernization” and “anti-tradirionalism” deepened the ideological connotation of the May Fourth New Culture Movement. The author believes that the most precious cultural heritage of the May Fourth Movement is the construction of the value system of modernity in the dialogue and mutual interpretation between both the ancient and the present and China and the west.

关 键 词：五四新文化运动 中国现代美术 科学写实主义 大众化 价值重构 启蒙现代性 

分 类 号：J20[艺术—美术]