民国时期气韵生动重释  

The Reinterpretation of Rhythmic Vitality in the Republic of China Period

作　　者：张学峰 ZHANG Xue-feng(Sichuan Fine Arts Institute,Chongqing 401331,China)

机构地区：[1]四川美术学院,重庆401331

出　　处：《遵义师范学院学报》2025年第1期163-167,共5页Journal of Zunyi Normal University

基　　金：重庆市社科规划项目“20世纪前期中国美术史新知识体系形成研究”(2022NDYB158);重庆市教委人文社科项目“民国时期中国美术史书写的叙事转型研究”(22SKGH293)。

摘　　要：气韵生动是中国艺术史核心概念,民国学者论述分为辩护和批判两大类。辩护者强调笔墨、雅俗、表现,或主客合一、生命节奏、感情移入、高出写实等,从不同层面诠释其特征与价值。批判者以一种外部变革眼光,将之看作唯心或虚玄。这些论述反映出新艺术运动和整理国故的分歧与多样,见证了历史与现实之间的弥合与紧张。The term of rhythmic vitality is one of the core concepts of Chinese art history.Scholars in the Republic of China can divide their discussions on this concept into two categories:defense and criticism.The defender emphasizes the use of brush,elegance and vulgarity,expression,or the integration of subject and object,the rhythm of life,emotional immersion,and a higher emphasis on realism and so on,interpreting the characteristics and values fromdifferent perspectives.Seeing the spirit of vivid as idealismor mysticism,Critics view it as idealistic or mystical with an external perspective of change.These discussions reflect the differences and diversity between the newart movement and the organization of national heritage,witnessing the reconciliation and tension between history and reality.

关 键 词：民国学者 气韵生动 骨法用笔 整理国故 

分 类 号：J212[艺术—美术]