从《赖斐尔》到《现代绘画之新趋势》--蔡元培的趋“新”与中国“后印象派”的兴起  

From Raffaello to New Trends in Modern Painting:Cai Yuanpei's Pursuit of“the New”and the Rise of“Post-impressionism”in China

作　　者：徐旷之 Xu Kuangzhi(School of Humanities,Central Academy of Fine Arts)

机构地区：[1]中央美术学院人文学院

出　　处：《美术》2025年第3期64-77,共14页Art Magazine

摘　　要：本文尝试以蔡元培认知“新派”的过程为线索,重新审视中国美术的趋“新”之势与其中的观念转变。一战前,蔡元培及北京画坛对于西方“新派”的认知和接受普遍止于学院派与印象派、后印象派的折中杂糅体,对于更“新”的野兽派、立体主义,往往不置一词。“五四”之后,伴随尼采、柏格森等人思想学说的传入,“创造”一词上升为新的价值观。正是在这样的语境下,蔡元培重新激活了德国美学传统中的形式因子,形成了“创造—形式”这一理解艺术的新框架,并在1921年的访欧之旅中吸收了形式主义理论,重新认识了西方更“新”的新派绘画。归国后的蔡元培与刘海粟展开了深度合作,两人共同将后印象派推向了中国现代美术的前台。This article analyzes Cai Yuanpei's growing understanding of“new schools”to reexamine the pursuit of“the new”in Chinese art and changes in thoughts.Before World War I,Cai Yuanpei and the Beijing painting community as a whole generally considered“new schools”in the west as a blend of academism,impressionism and post-impressionism,and often did not say a word about the“newer schools”of fauvism and cubism.After the May Fourth Movement,the introduction of the theories of Nietzsche,Bergson and others made the word“creation”a new value.Cai Yuanpei reactivated form factors in traditional German aesthetics and built a new framework of“creation-form”for understanding art.He learned more about formalism in his visit to Europe in 1921,and gained a new understanding of“newer”schools in the west.After returning to China,Cai Yuanpei worked with Liu Haisu,and together they brought post-impressionism to the forefront of modern Chinese art.

关 键 词：蔡元培 后印象派 刘海粟 美术革命 现代性 

分 类 号：J205[艺术—美术]