温和的渐进之路-以民初北京地区中国画传统派画家为中心的考察

【作者】 杭春晓；

【导师】 郎绍君；

【作者基本信息】 中国艺术研究院 ， 美术学， 2006， 博士

【副题名】以民初北京地区中国画传统派画家为中心的考察

【摘要】 现行关于二十世纪中国社会的研究,多建立在有关“现代化”的一整套语汇及概念体系之上,而对此期问题的展开也往往受制于这样的知识与经验,基于“进步”之逻辑得出判断或结论。究其缘由,是因为我们在二十世纪“求变历程”中逐渐形成的关于社会进步的观念与思想。而现行教育、宣传亦多以此为源,并形成我们获知方式上的垄断性效应。这使得我们习惯于一种熟悉的思维前提,自然也就难以客观面对历史现象,尤其是当这一现象极度丰富而复杂之时。关于本文之研究对象——民初北京地区中国画传统派画家的现行研究,同样也存在着上述问题。甚至,将北京传统派画家视作绘画史的一个问题来展开系统研究的专题论述几乎未见,相关论述人多散见各类美术史论中兼而带之。且。多数都以“二十世纪中国文化怎样应对外来文化”这样一个前提作为论证起点,以“冲击——回应——变革”为论证的内在逻辑,关注中国画革命与守成的冲突与碰撞。隐含着以“革命”为尚的价值上的实用化判断——将这批画家视为保守势力,从而忽略了文化体内部自我推进的动力、因素与规律,甚至以对社会、政治的判断取代文化本身的判断。 有鉴于此,本文首先立足于我们所“熟悉”的概念内涵之形成历史的疏理与辨析——从现行某些简单化、甚至矛盾的论述入手,探寻我们“熟悉化”知识经验的形成过程。通过较为细致的考析,笔者认为此种观念的产生主要发生在建国之后,与历史事件的发生并非同时,并认为我们要认识这段历史,首先应该反思我们习惯的思维逻辑,一步一步抛离我们所熟悉的知识或经验,以期获得相对客观的认知眼光。继而,本文以两则传统派画家临摹案例展开这批画家的作品分析,并结合相关题跋、画论探讨他们对待新知的“博采”态度。同时还指出这种“博采”与革命派主张有所不同。而是以尊重传统为前提——主要以“精研古法”的方式在传统内部中寻找摆脱晚清“四王”画风的“变革”之路,从而形成了相对温和的、渐进发展的艺术演进方式。进而,本文通过对“以西画写实改造中国画”之口号如何于1917～1918左右发生影响之考析为起点,探析当时传统派画家与激进主张之间的互动关系,并指出激进派往往以革命方式摧毁过去,其呐喊有着醒人耳目、摆脱浑噩,给人以崭新的对未来的希望,但往往带有破坏性,缺乏建设功能而引发混乱:传统派则往往倾向改良方式,以对过去的尊重为前提,进而探寻新生之目标。带有稳步求变的建设价值。但这种改良色彩的“求变”如果缺少其外围的激进呐喊,也容易产生自足心理而趋于守成,尤其是当其面对的传统足够强大之时。故而,看待二十世纪中国画发展,对这两种力的作用、价值应该具体问题具体分析,不能简单、武断地以单一的价值标准为其定位。然现行研究却多陷入简单化定位的误区之中,将两者对立而不细分其异同。并且在这种对立中,多看到激进革命之“变”,而忽视传统改良之“变”。于是在相当长的时间内,传统派一直被看作世纪初绘画变革中的保守营垒,是有碍艺术进步的惰性力量,从而造成我们现有“熟悉化”知识经验的偏颇色彩。最后,通过对于历史细节的深入解析,本文认为民初北京地区传统派画家基于中国画既有传统。在一定程度上吸纳西画新的因素发展本土艺术的思路,与清末民初国粹派在思想脉络上一脉相承——即于文化冲撞期中,强调本土文化之自身价值,同时整合异域文化因素,以温和渐进的方式寻求文化之演进与发展。这是人类文明冲撞期中,受力文时常采用的文化演进的重要方式之一,对于当下中国文化发展道路的选择仍具有一定的参鉴作用。更多还原

【Abstract】 The present study about 20^th century Chinese society mainly based on the system of the idea and conception of modernization, the further study on this issue is usually formed by this knowledge and experience, so the result or the judgment rely on the logic of progress. The idea and thoughts of social advancement that come out gradually from so called reform- progress we had experienced in 20^th century is the very reason that has caused these phenomena. However, the present educating and publicizing way basically originate from them, and has influenced our cognitional habit in monopolizing way. This has made us get used to a sort of thinking premise, and hardly to face the historical truth objectively, particularly when the historical phenomena are complicated. The matter of fact is that the actuality of the study object of this dissertation which focus on Beijing traditional Chinese style artists in the first part of Mingguo period has the same problem. Indeed, it is hardly to find a deep research that takes Beijing traditional Chinese style artists as a main issue of Chinese fine art history, instead they can only be found as a small part in some Chinese art history books. In these books, it is very common that how Chinese culture faced foreign culture in 2oth century has been used as the starting point of its argumentation, and impact-- reaction—reform be used as the inner logic, pay attention to the conflict and impact between reformation and conservation of traditional Chinese painting, intend to get the practical value judgment through using their understanding of revolution which regarded these artists as a conservative group, ignoring the inner side motive , the elements and the rule that make the self-progressing of culture itself, even substituting the judgment of culture with the judge of society and politics.First of all. this dissertation bases on the analysis of the developing history of the connotation of the conception that we are familiar, through studying the present simple even paradoxical points to seek the developing progress of our familiar knowledge and experience. With meticulous analysis, the author has found that mainly this phenomenon happened after the foundation of our country, and didn’t go with the historical events. He believe that to get to understand this period of history, we need to think about our normal understanding logic, throw some of our familiar knowledge and experience step by step, then to get the relatively objective cognate insight. Then by studying two examples of traditional artists imitating the old masters’ paintings, also by analyzing their creating visual images, some inscriptions and also their articles, to approach their finding and getting attitude to the western painting. The author then points out that this attitude is some kind different from the reform way of revolution group, the premise of them is respect of the tradition, and main way for them to get rid off the influence of Si Wang in late Qing is to find the new reform style inside of the traditional art by studying the tradition thoroughly, and then to find the relatively moderate and gradual way of art developing. After that, by using the analysis of how the slogan of reform traditional Chinese painting with western realism has brought influence to art circle around 1917- 1918 as the start point, he has searched the interrelationship between the traditional artists and radical artists, and he found that the radical group often destroy the past by revolution, their activities somehow could awake people and bring them with future hope, but usually could cause destroy and confusion since lack of construction. Meanwhile, the traditional group usually intend to choose the way of improving to find new style and took the respect of past as premise, compare with radical group’s way, this is a more stable and constructive. The problem of this group was that they were easy to become conservative iflack of strong radical incentive. So when looking back 20lh century art history, we should make thoroughly compare between these two groups, and avoid to make simple and objectively result. However, the present studies on this issue usually have this problem, the reform of radical group has been emphasized while the improving effort of traditional group has been ignored by them. That’s the very reason why the traditional group has been regarded as a conservative school which prevent the improvement of art that has caused us the unilateral familiar knowledge . finally, through deeply historical detail analysis, the author believes that based on the idea that Chinese should has its own tradition and also should absorb some western idea to develop itself, Beijing traditional Chinese style artists in the first part of Mingguo period had the same aesthetics as the Guocui school late Qing and the beginning of Minguo, they emphasis the value of traditional art itself, while using some foreign ideas to reform the traditional art gradually. In fact, this has been the main way of cultural development in the conflict of civilization, it is still can be used as a reference for us when choosing the way of cultural development.更多还原