演绎与拓展:写生之于现代美术史的意义  

Deduction and Expansion: the significance of painting from life in modern art history

作　　者：赵志红[1] Zhao Zhihong

机构地区：[1]四川大学艺术学院

出　　处：《南京艺术学院学报（美术与设计）》2019年第6期7-11,I0006,共6页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：2017年教育部人文社会科学项目《“本土西行”与中国美术的现代转型研究》的子课题(17YJA760020);2018-2019年度德国海德堡大学东亚艺术研究所进行博士后访学的研究成果之一

摘　　要：五四以来,中国传统写意的文人画遭到了引进的西方传统的写生观念与方法的挑战与猛烈抨击。而这种“科学”的写生观与方法在中国特定的社会与文化语境中,又不断注入新的内涵,使之具有了本土化的特色,逐渐成为中国现代美术最重要的创获之一。本文在回溯中国传统写生观念意涵的基础上,着重分析20世纪以来写生观念与方法的演绎,探讨写生的“误读”与“错位”现象,力求在新的时代语境中对写生的意义与价值有新的认识。Since the May 4th Movement,the traditional Chinese freehand brushwork has been challenged and severely attacked by the traditional Western idea and method of painting from life.In the specific social and cultural context of China,this"scientific"concept and method of painting from life has been infused with new connotation,which makes it with localized characteristics and has gradually become one of the most important creations of modern Chinese art.On the basis of reviewing the meaning of traditional Chinese concept of painting from life,this paper focuses on the analysis of the interpretation of the concept and method of painting from life since the 20th century,discusses the phenomenon of"misreading"and"dislocation"of painting from life,and tries to have a new understanding of the significance and value of painting from life in the new era.

关 键 词：写生 现代美术 意义 

分 类 号：J209[艺术—美术]