中国20世纪现代派美术的美学探索与论争  

The Aesthetic Exploration and Argument of Chinese Modern Art in 20th Century

作　　者：杨向荣 YANG Xiang-rong(School of Humanities,Hangzhou Normal University,Hangzhou 311121,China)

机构地区：[1]杭州师范大学人文学院,浙江杭州311121

出　　处：《美育学刊》2022年第3期1-9,共9页Journal of Aesthetic Education

基　　金：国家社会科学基金项目“图文的叙事建构及其话语隐喻研究”(20BZW027);国家社会科学基金重大项目“20世纪中国美学史”(12&2D111)的研究成果。

摘　　要：在对中国现代美术的美学探索中,革新派看到西洋画法的先进性,认可西方美术技法,主张将东西方的绘画理论和技艺结合起来,引进西方现代美术思想来改革中国美术,如刘海粟、林风眠、徐悲鸿、邓以蛰等。传统派虽然也受到西方现代美术思想的影响,但更多致力于传统美术基础上的创新,他们坚守传统,宣传中国古典美术的风格和价值,如李叔同、丰子恺和潘天寿等。这两派艺术家都受到了西方现代前卫美术思想的影响,改良或创新都是希望借鉴西方的绘画艺术理论,以此促进中国绘画理论和绘画艺术的发展,推动中国美术的现代化进程。In the aesthetic exploration of modern Chinese art,the Progressives,represented by Liu Haisu,Lin Fengmian,Xu Beihong,Deng Yizhe,etc.,accepted Western painting techniques and proposed its combination with the Eastern counterpart.In addition,they strived to reform the Chinese art by introducing the ideas of modern Western art.On the other hand,the Traditionalists,including Feng Zikai,Pan Tianshou,Li Shutong,etc.,although influenced by the modern Western art thoughts,were more dedicated to the innovations based on the traditional art.They held fast to the tradition and promoted the genre and value of classical Chinese art.Influenced by Western modern avant-garde art ideas and based on improvements or innovations,both of them hoped to learn from the Western art theories and promote the development of Chinese painting theory and art,as well as pushing forward the modernization process of Chinese art.

关 键 词：现代派美术 革新派 传统派 美学探索 论争 

分 类 号：J01[艺术—艺术理论]