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进入近代,在西方强大的军事和制度狂澜下,传统中国画所依托的内外环境在发生前所未有的变化,中国文化和艺术生态也不可避免地发生格局变更。民国期间,中国画学凭借着强大的民族文化根基和传统艺术承载,藉众多致力于文化学者、中国画家、理论家、专业院校及团体之力,使中国画的传承和研究进入广博而开放的学术研究体系中,并“免遭民间化和边缘化的危险”。1通过回顾民国时期的画学思想,再度担负道义的百家主张,将有助于我们客观地开展现
Entering the modern era, the internal and external environment relied on by traditional Chinese paintings has undergone unprecedented changes under the mighty maneuvers of the military and the system in the West. Changes in the Chinese culture and the artistic ecology are also inevitable. During the period of Republic of China, Chinese painting, with its strong foundation of national culture and traditional art, made a great contribution to the extensive and open scholarship through the efforts of cultural scholars, Chinese painters, theorists, specialized institutions and groups Research system, and “from the risk of civilization and marginalization ”. 1 By reviewing the thought of painting in the Republic of China and once again assuming the moral proposition of one hundred, it will help us to carry out objectively