“写实”在“美术革命”思潮下的想象与重构  

Imaging and Reshaping“Realism”in the Fine Arts Revolution

作　　者：冯炜[1,2] Feng Wei

机构地区：[1]浙江工商大学艺术设计学院 [2]浙江省文化产业创新发展研究院

出　　处：《美术》2021年第9期94-100,共7页Art Magazine

基　　金：国家社会科学基金艺术学一般项目“20世纪传统派画家的‘文化心态’与‘主体建构’研究”(19BF076)的阶段性成果;浙江省高校优秀青年教师资助计划培养人员项目(1090JF2210009G)的阶段性成果。

摘　　要：明清西洋画写实技法初传中国,因其画风迥异中土而多被文人贬为"不入画品",及至"五四"新文化运动,"美术革命"以新命题提出对中国艺术的价值重构,西洋画写实一法转而成为"科学理性"的标志,并迅速登上中国主流美术的舞台。在"写实"为20世纪中国美术提供新范式的同时,也产生了一种问题缠绕。为厘清现象,需要还原时代的思想文化语境,追问写实倡导者们的本意,反思"传统"和"现代","进步"和"落后"等范畴在现代中国美术中的二元对立关系及其表现,这对研究写实主义在中国的扎根有着十分重要的意义,亦是20世纪中国美术"主体建构"中的重要命题。When the realistic techniques in western paintings were introduced to China for the first time during the Ming and Qing Dynasties,local literati regarded western painting as"inappreciable works"due to their quite different styles from traditional Chinese counterparts.As time passed on,during the New Culture Movement(around the time of the May 4 th Movement in 1919),a Fine Arts Revolution then proposed to reshape the value of Chinese arts through new topics,and the realism in western paintings thus became an icon of"science and rationalism"and quickly found their position on the stage of Chinese fine arts mainstream.While"realism"made a new paradigm for Chinese fine arts in the 20 th century,it generated problems that entangled with each other.To make the phenomena clarified,the ideological and cultural context during the period of time needs to be recaptured,so that the original ideas of the advocators to realism can be interpreted,the binary opposition of various concepts such as"conventionalism"vs."modernism","making progress"vs."being lagged behind"and its corresponding demonstration in modern Chinese fine arts.Such recapturing is vital to analyzing how realism took root in China and also a significant study subject in"subjective construction"of Chinese fine arts during the 20 th century.

关 键 词：写实 美术革命 西洋画 文人 

分 类 号：J209[艺术—美术]