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二十世纪上半叶,中国正处于新时代与旧时代的交替之际,处于“破”与“立”二元激烈对抗的时期。在这样恶劣的时代背景下,滕固不仅以其深厚的国学底蕴和极高的西学造诣积极主动地融合中西艺术思想的精华,而且将西方艺术史研究中的风格分析的研究方法与进化论的史观思想同中国传统艺术思想中对气韵生动的审美追求相结合,形成以“艺术作品为本位”的“内向观”研究与注重艺术作品生成的历史、文化或时代背景的“外向观”研究相结合的艺术美学思想。民国时期是中国美学从古典形态向现代形态转变的重要时期。学者滕固在其短暂而不幸的一生中衷心致力于美术史的研究,并且取得了丰硕的成果,为中国近现代美术学科的建立奠定了坚实基础。他被学界公认为是近代中国美术史学的奠基人。
In the first half of the twentieth century, China was at a time of alternating the new era and the old one and was in a period of fierce confrontation between “broken” and “standing”. In such a harsh era background, Teng solid not only proactively integrates the essence of Chinese and Western artistic thought with its deep knowledge of Chinese studies and high attainment of Western learning, but also analyzes the research methods of style analysis and the history of evolution in the study of Western art history The combination of the concept of thinking and the vivid aesthetic pursuit of qi and yun in the traditional Chinese art thoughts leads to the study of “introversion” based on “artwork of works of art ” and focusing on the historical, cultural or historical background of the creation of works of art Extroverted view "of the combination of art aesthetics. The period of the Republic of China is an important period for the Chinese aesthetics to change from the classical form to the modern one. In his short and unfortunate life, scholar Teng Gu dedicated himself to the study of the history of fine arts and achieved fruitful results, laying a solid foundation for the establishment of modern and contemporary art disciplines in China. He was recognized by academic circles as the founder of modern Chinese art historiography.