西化浪潮下日中近代美术发展态势的比较研究

发布时间：2018-03-29 12:08

本文选题：冈仓天心　切入点：徐悲鸿　出处：《华东师范大学》2012年硕士论文

【摘要】：19世纪的中后期,在西方世界的冲击下日本主动地进行了日本近代史上著名的“明治维新”。于此同时,在美术界日本也酝酿着翻天覆地的变革。被誉为日本近代美术之父的冈仓天心。发起的新日本画运动,培养了横山大观、菱田春草、下村观山等一大批明治初期的日本画家。在这一场美术变革中,冈仓天心通过政府任职+高层社交、多方宣讲+著述出版、创办学校+组建社团、举办展览+设立奖项等方式,逐步地接近他所著述的“东方的理想”。为日本近代美术的发展尤其是日本画的创新起到里程碑式的作用。 20世纪初期的中国面临着比“明治维新”前的日本社会更加复杂的局面和困境,国家处于半殖民地,半封建的状况。内忧外患,这个拥有五千年历史的老大“中华”的变革将势在必行。上至政治体制下至生活方式,都面临着激烈地变革。在美术领域面临着这个时代类似的问题。徐悲鸿出生于甲午海战后一年的1895年。那时的日本新美术运动正在冈仓天心的带领下正如火如荼地进行着,已显出一番成效。中日两国近代美术变革的步伐在这个时间节点已被拉开。成年后的徐悲鸿师从国学大师康有为,深受康“卑薄四王,推崇宋法”并倡导“合中西而成画学新纪元”思想的影响。而当时中国画坛一味摹古的迂腐氛围也大大地刺激了徐悲鸿。美术界要求改革中国画的声浪也极其强烈,都激励着徐悲鸿对美术变革的诉求。1917年徐悲鸿到日本进行了大半年的考察,被日本画受西方艺术影响下的变革之新风所震撼。日本之行进一步坚定了徐悲鸿改良中国画的决心,并于1919年赴法开始了为期8年的欧洲留学。1927年徐悲鸿回国,以上海的南国艺术社和当时南京的国立中央大学为基地,用新式的学院式美术教学体制和写实主义的绘画手法来改良中国画。徐悲鸿以写实主义美学观来改良当时中国画坛,确为当时的画坛带来新风。但是,随着三十年代的抗战时代的到来,徐悲鸿的“文艺为人民服务”的艺术观,顺应了当时时代主流意识形态的需求。也就使徐悲鸿的“学院派写实主义绘画”成为了抗战艺术的指南针；成为20世纪整个国家美术创作中的主导艺术创作模式,并成为延续至今的中国美术教育领域以及中国画教学和发展的模式先驱。作为近代日本画转型的主导者冈仓天心认为吸取西方绘画的精神必须是在巩固日本美术之基础上进行的。并且指导学生学习日本美术史上各个时期的画风,他本人对西洋绘画的态度是主张与西方的艺术发展趋势保持同步,而不是追慕“最低潮阶段的欧洲艺术”。冈仓天心所认为的“最低潮的阶段的欧洲艺术”,即为在西方已经没落的“学院派写实主义艺术”,并且此风在明治初期的工部美术学校的“洋画运动”中已有所扎根于日本画坛。明治时期是日本全面学习西方文化的开放时期,冈仓天心之所以能从整体上重新认识本国美术传统,以及西方美术各个时期的绘画流派和风格,也是基于明治时期开放式的文化输入政策。作为文部省官员的冈仓天心坚定地贯彻了当时日本的国家意识——“破旧有之陋习”,“求知于世界”。积极主动地学习西方美术的本质、核心、根基。风格、艺术理念各异的“派会”风起云涌,并立同行。美术大大地发展进步。日本之所以能如此迅速且全方位地吸收外来文化,根源于其民族文化之本,即开放式的混合文化特质为日本文化之一大特征。日语本身的语法结构即能看出这种特点。以及传统文化对日本本身之牵绊相对中国来说要小的多,因此,日本能够迅速地吸收异质文化的精髓。民国初期徐悲鸿认识到,中国传统的文人水墨画在清末似乎已经走入了死胡同,改良它势在必行。法国8年的留学带来了学院派的写实主义艺术,徐悲鸿用自己的毕生精力实践着传统水墨面与写实主义美术的结合。希望通过吸收异质文化来发展中国画。学院派的教学模式创立也为中国美术的发展带来了新的生机,培养了一大批新兴美术人才。可是中国传统文化远比日本复杂坚实的多,深刻地制约着中国每迈出的一小步。徐悲鸿美术改良的贡献在中国近代美术史上的意义是巨大的。但是,由于时代、历史之因素也造成今天中国艺术发展多样性缺失的,以及对审美学自身规律的忽视所造成的弊端。自古以来日本美术就和中国美术有千丝万缕的联系,两国文化的联系性成为了比对的基础。本论文试图以冈仓天心和徐悲鸿为主线,通过分析他们各自面对传统文化、西化浪潮时的选择态度异同之根源,以及由此产生的对后世日中两国美术发展态势截然不同的深层次原因。
[Abstract]:In late nineteenth Century, the Japanese initiative to carry out the modern history of Japan's famous "Meiji Restoration" in the western world under the impact. At the same time, in the arts of Japanese brewing revolution. Turn the world upside down known as the father of modern Japanese art Oka Kura Tianxin. Initiated by the Nippon art movement, Hengshan grand culture, Hishida spring grass, under the village concept such as a large number of early Meiji Japan artist. In this field the change of art, Oka Kura tenshin through government + tall social office, various preaching + works publishing, founded the school set up exhibition + + community awards etc., gradually approaching his writings in the East "ideal. For the development of Japanese modern art especially Japanese painting innovation plays the role of milepost type.
In early twentieth Century the Chinese faces is more complex than the "Meiji Restoration" before the Japanese social situation and predicament, countries in the semi colonial and semi feudal status. It has a history of 5000 years of domestic trouble and foreign invasion, "the boss" change will be imperative. To the political system and way of life, are facing the fierce change in the field of art. Facing the era of similar problems. Xu Beihong was born in the year of 1895 after the Sino Japanese war. At that time the Japanese new art movement is under the leadership of Oka Kura Tianxin is going on like a raging fire, have shown some effectiveness. In Japanese modern art the pace of change has been opened at this time node. Adult Xu Beihong under the tutelage of Ancient Chinese Literature Search master Kang Youwei, by "thin and low esteem, Kang song method" and advocate "effect of combined Chinese and Western painting into a new era of" thought. At that time, China A pedantic style painting atmosphere also greatly stimulated the Xu Beihong art reform Chinese painting sound is extremely strong, inspires to Japan were investigated in the first half of the Xu Beihong on the reform of art appeal.1917 Xu Beihong, by the Japanese painting by Western art under the influence of the change of air shock in Japan. For further improvement of the firm determination of Xu Beihong China painting, and in 1919 France began a period of 8 years of study in Europe.1927 Xu Beihong returned to Shanghai, Southern Art Society and was Nanjing's national Centre College as a base for new college art teaching system and realistic painting technique to improve Chinese painting.
Xu Beihong to realism aesthetics to improve Chinese painting at that time, it was the painting brings fresh air. However, with the 30s war era, Xu Beihong's "the service for people" concept art, conform to the needs of that era mainstream ideology. Xu Beihong also makes the "School of realistic painting" has become the art the compass; in twentieth Century to become the national art in the creation of the dominant mode of artistic creation, and become the pioneer of continuation of the China mode of art education and China painting teaching and development. As a leader of the modern transformation of Japanese painting Oka Kura tenshin that absorbs the western painting spirit must be in the consolidation of Japanese fine arts basis. To guide the students to learn Japanese art various periods in the history of painting, Western painting himself on the approach is advocated with the West Art development to keep pace of the party, and not the pursuit for "the ebb phase of European art". Oka Kura tenshin considers "the lowest stage of European art", namely in the West has been the decline of "academic realism art", Western painting and the air ministry in early Meiji art school "movement" has roots in Japanese painting.
Meiji period Japan comprehensive learning western culture and opening period, Oka Kura tenshin can rediscover their traditional art as a whole, and Western art in various periods of painting genre and style, but also the cultural input policy based on the Meiji period open. As the Ministry officials Oka Kura Tianxin resolutely implemented the Japanese national consciousness "old bad habits", "knowledge in the world. To actively learn western art essence, the core of the foundation. The concept of art style, different" pie "and the same line. Raging like a storm, art greatly development and progress. Japan has been able to so quickly and fully absorb foreign culture, rooted in the the national culture this, open mixed culture traits of Japanese culture characteristics. Japanese language syntax structure can see this kind of characteristics as well as traditional paper. In Japan itself. China is relatively much smaller, therefore, Japan can quickly absorb the essence of foreign culture. In the early Republic of China Xu Beihong, Chinese traditional literati painting in the late Qing Dynasty seems to have reached a dead end, improved it is imperative. 8 years of French students brought academic realism art. Xu Beihong's practice of combination of traditional Chinese ink painting and realism art in his own lifetime. Hope to the development of China painting through the absorption of foreign culture. The creation of school teaching mode has brought new vitality for the development of China art, cultivate a large number of emerging arts talents. But China traditional culture more solid than Japan complex, greatly restricting each small step Chinese. The significance of Xu Beihong's art improvement contribution in China modern art history is huge. However, because of the age, The factors of history also cause the lack of the diversity of Chinese art development and the malpractice of the neglect of the law of aesthetics.
Since ancient times, Japanese art and art China are inextricably linked, with culture of the two countries as comparison basis. This thesis attempts to Oka Kura day and Xu Beihong as the main line, through the analysis of their own in the face of traditional culture, the wave of westernization and the attitude of the similarities and differences of origin, and the trend of development of the two countries in the later days the art of different reasons.

【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J209.1

【共引文献】