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20世纪30年代,“洋画中国化”成为了中国画界的一个争论热点。画家关良认为将中国情趣移植入洋画绘制中,才能凸显中国油画在世界范围内的鲜明特色。本文在相关文本史料的梳理、解读基础上,对于该时段关良的绘画意图的生成历程和周遭环境对其观念的各式反应进行探究,特别是对绘画趣味的一种表现形式——稚拙感进行了重点剖析,并且在西方艺术本土化的探讨方面也偶有涉及。一1933年,倪贻德在一篇文章里将中国的洋画艺术分成新旧两大
In the 1930s, “Westernization of Western Painting” became a hot debate in Chinese painting circle. Guan Liang, an artist, believes that portraying Chinese interests into foreign paintings can highlight the unique characteristics of Chinese oil paintings in the world. On the basis of sorting out and interpreting the related textual historical materials, this article explores the formation of Guan Liang’s painting intent and the surrounding environment’s various reactions to his conception, especially the expression of the taste of painting Has carried on the key analysis, and has also occasionally involved in the discussion of the western art localization. In 1933, Ni Yi-de divided the art of Chinese painting into two new and old