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现有的研究从“西方冲击——中国回应”模式出发探讨中国画的现代转型,这种研究路径容易单方面强调新中国“阶级性”写实改造而难以兼顾花鸟画传统内在的变化。加之花鸟画转型的风格变化相对潜在,即便偶有所论,也容易用发生在清末民国时的岭南画风和徐悲鸿“以西润中”的主张来涵盖新中国花乌画之变的主要动向,风格评述大于历史研究。而从“图”与“史”的关系出发,花鸟画题材本身的社会性或社会学寓意又并不直接和明显,因而缺少图像学维度的探讨。对于十七年时期的花乌画转型,目前还缺乏较系统深入的考察,特别是对花乌画古今之变的内在理路与新中国具体的政治文化氛围的紧密关系更缺乏讨论。
The existing research explores the modern transformation of Chinese painting from the model of “Western Impact - China Response”. This research path is easy to unilaterally emphasize the realistic transformation of the “class” of New China and make it difficult to take into account the inherent changes in the tradition of flowers and birds. Coupled with the relatively potential changes in the style of flower-bird painting transitions, even occasionally, it is easy to cover the major changes in the new Chinese Huaguu paintings with the Lingnan style and Xu Beihong’s “Run West” in the late Qing Dynasty and the Republic of China Trends, style reviews than historical research. Starting from the relationship between “figure ” and “history ”, the social or societal moral meaning of flower and bird painting itself is not direct and obvious, so it lacks the discussion of image dimension. For the transformation of Huagu painting during the 17 years, there is still a lack of systematic and in-depth investigations. In particular, there is a lack of discussion on the close relationship between the internal logic of the Huagu eraar painting and the specific political and cultural atmosphere in New China.