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二十世纪初,一场旨在反对封建社会意识和传统文化,倡导西方科学和民主的新文化运动在国内开展开来。中国的传统绘画受到这股社会改革思潮的冲击,陷入僵化萎靡的关头。美术界,徐悲鸿受西方文艺思潮洗礼,提出“古法之佳者守之,垂绝者继之,不佳者改之,未足者增之,西方画之可采入者融之”的绘画改革主张,用西方写实主义绘画来改造中国传统绘画。徐悲鸿的艺术改革对20世纪初中国画坛盛行的摹古之风是一次巨大撞击,也是对中国传统绘画的挑战与开拓。
In the early twentieth century, a new cultural movement aimed at opposing feudal social awareness and traditional culture and advocating Western science and democracy was launched in China. The traditional Chinese painting was hit by the trend of social reform and plunged into a period of rigidity and sluggishness. The fine art world, Xu Beihong was baptized by western literary and artistic trends and proposed that “the ancient law of the best, the extinct followed, the poor, the unprofitable, the Western art of the recoverable.” Painting reform advocates, with Western realism painting to transform traditional Chinese painting. Xu Beihong’s art reform was a huge impact on the ancient customs of the ancient Chinese painting in the early 20th century, as well as a challenge and exploration of traditional Chinese painting.