何为现代:1940年代高剑父的现代绘画观  

On How Modern Defines:Gao Jianfu’s View of Modern Painting in the 1940s

作　　者：陈建宏[1] CHEN Jianhong

机构地区：[1]广州美术学院《美术学报》编辑部,广东广州510260

出　　处：《艺术探索》2021年第1期35-45,共11页Arts Exploration

基　　金：广州市哲学社会科学发展“十三五”规划2020年度共建课题“岭南学术传统与当代学术话语建构研究--民国时期广府书画鉴藏研究”(2020GZGJ308)。

摘　　要：在现代氛围浓郁的20世纪上半叶,特别是在1930年代西方现代主义绘画被大量引入中国并成为新思潮的时候,高剑父将自己坚持多年的绘画改革的产物新国画命名为"现代绘画"(现代国画),是一种资深进化论者的充满世界眼光的适时之举。他的意图是:一方面使"现代国画"能够与其他新艺术一道成为中国艺术新的主要力量;另一方面能将发生已久的国画运动提升到一种适宜的先锋状态中。In the first half of the 20th century which was full of strong modern atmosphere,especially when Western modernist painting was introduced into China in large quantities and became a new trend of thought in the 1930s,GAO Jianfu named the new Chinese painting as"Modern painting"(modern Chinese painting).It was the product of his persistent painting reform for many years,was a timely move by senior evolutionists that is full of world vision.What his intention was:on the one hand,"modern Chinese painting"can be the new main force of Chinese art together with other new art.On the other hand,it can promote the long-standing Chinese painting movement to a suitable avant-garde state.

关 键 词：高剑父 现代绘画观 1940年代 学术背景 

分 类 号：J212[艺术—美术]