【作者】 燕飞；

【导师】 莫小也；

【作者基本信息】 浙江理工大学 ， 美术学， 2012， 硕士

【摘要】 20世纪之交，中国出现了陈寅恪所谓的“三千年未有之大变局”，中国的政治、经济、文化诸领域在社会动荡中经历了从传统向现代转型的重要阶段。中国画作为传统文化的重要组成部分，也在这股变革潮流中进行着艰难的现代转型，许多来自不同领域的团体和画家纷纷投入到这场变革潮流中。但是，在西风东渐的大潮中仍有这样一批画家，他们坚持中国画自身的立场，从中国画内部努力寻找现代转换的新途径，陈缘督（1902—1967）便是投入其中的一位中国传统绘画的守护者，20世纪上半叶北京画坛重要的传统派画家。陈缘督是著名画家金城（1878～1926）的高足，他参与创办北方重要的绘画社团之一“湖社画会”，一生秉持“精研古法，博采新知”的艺术理念，强调保存传统绘画，尤其重视对宋元画学思想的研究与继承，同时并不排斥对西画的学习。陈缘督重视临摹，其作品以工笔为正轨，注重笔墨功夫的修养，他与刘凌沧、于非闇、马晋、王雪涛等著名画家一起为北京画坛，乃至整个20世纪中国传统绘画的创新与发展做出了不朽贡献。此外，陈缘督在北平辅仁大学任教期间还有一段特殊的艺术经历，就是通过传统绘画进行中国基督教本土美术的创作，这不仅丰富了中国宗教美术本身，还以崭新的方式扩展了中国画的表现形式，在20世纪上半叶的北京、上海等地颇具影响。本文分为五个部分，第一章绪论，通过对相关研究的评述来论证陈缘督艺术创作的意义与价值；第二章梳理陈缘督的艺术经历与所处环境，发掘其艺术思想产生的条件与根源；第三章是本文的研究重点，通过分析绘画题材与风格特征，探究陈缘督的艺术特色与贡献；第四章介绍陈缘督的基督教美术，也是本文的创新点与难点。由于此前对于这部分的研究基本空白，所以单列一章进行专题研究；第五章是全文的结论。本文研究认为，陈缘督基于中国画既有的传统和审美方式，在一定程度上吸收借鉴西画的某些因素来发展本土艺术。即在文化冲撞过程中强调本土文化的自身价值，同时整合异域文化因素，以温和渐进的方式寻求中国画乃至中国文化的演进与发展。在当今世界文化交流的大环境下，陈缘督的艺术思想对重新认识中国传统文化有重要意义。本文研究得出的另一个结论是：陈缘督等画家是近代中国基督教美术本土化过程中非常重要的一支创作团体，他们既是明末清初基督教美术的继承者，也是现代中国基督教美术创作的先行者，对近现代中西方文化交流的研究有重要价值。更多还原

【Abstract】 In the end of19th century and the beginning of20th century, China’s regime has changed a lot, which was called by Chen Yique unprecedented changed since three thousand years, during which China has seen an important phrase from traditional society to modern society in the social turmoil in the field of politics, economy, culture, etc. as an important part of China’s traditional culture, Chinese painting experienced tough transformation in such transformation trend, in which many groups in different fields and painters were actively engaged into such transformation trend. However, a batch of painters appeared in the trend of "Learning from West", and they stuck to Chinese painting tradition, and sought for the modern transformation from the inner element of Chinese painting, one of which is Chen Yuan-du (1902-1967) that was devoted into such a trend, and he was an important traditional painters in the first half of20th century in Beijing.Chen studied painting from famous painter Jin Cheng, and participated in launching "Hu She Hua Hui", one of important painting association in the northern China; he focused on paintings in Song and Yuan dynasty, and emphasized on mastering of pens and ink.Chen took China-oriented transformation of Christian painting with China’s traditional painting during his teaching in Furen University in Beijing, and influences in a way. He, with other famous painters in Beijing, such as Liu Lingcang, Yu Feian, Ma Jin, Wang Xuetao, etc. contributed a greatly to the innovation and development of China’s traditional painting in20th century.The paper includes five chapters as follows:Chapter one is about the introduction about the significance and value of Chen’s artistic creation in accordance with the existing historical data; Chapter two is to dig out the condition and necessity of generation of his artistic thought through the understanding of Chen’s artistic experience and contemporary surroundings; in Chapter three, the author attempts to discuss the characteristics and contribution of Chen’s traditional painting through the analysis on his painting theme and style characteristics, which is the research focus; Chapter four is to research on Chen’s special artistic experience, that is, his Christian art, which is also the focus in the paper. It belongs to the research scope of its painting style, however, the independent research condition has been possessed for such a part from the perspective of existing materials, research significance, etc. therefore, a specific elaboration has been taken separately; in Chapter five, a conclusion has been taken through the previous research.The author claims that Chen took in several western factors to develop the native art in a way, which is based on the existing tradition and appreciation way from China’s painting. In the process of cultural collision, he highlighted the value of native culture and combine the exotic culture factors, and sought for the evolution and development of Chinese painting and even Chinese culture with a moderate and gradual advance. Chen’s claim on art is of great significance to re-understand China’s traditional culture amid the modern world cultural communication. It has proved that as one important creation community in the localization process of China’s Christian art, painters such as Chen Yuan-du are not only the successor of the Christian art transitional period of Ming and Qing dynasty, but also the forerunners of Chinese modern Christian art creation, both of which will be significant for the research on the communication between Eastern and Western culture in the modern times.更多还原