节点文献
从明清时期西画东渐的进程看异质美术交流的特点
On the Characteristics of Fine Art Exchanges between Heterogeneous Cultures: Looking at the Process of the Gradual Entry of Western Fine Art into the Ming and Qing Dynasties
【作者】 叶帆；
【导师】 李晓伟；
【作者基本信息】 福建师范大学 ， 美术学， 2009， 硕士
【摘要】 明清时代的西画东渐进程是东西方两大异质文明间文化交流的一个组成部分,明末至清中叶西画东渐速度十分缓慢,发展上并没有连续性,与根深蒂固的中式审美趣味和华夏中心的大国心态有关。鸦片战争后中国国力急转直下,民族自信心严重受挫,缓慢的开始针对西方的侵略做出回应。19世纪末在艺术教育上开始参考西制制定学制;派遣海外艺术留学生学习西方艺术,西画东渐的参与者增多,美术交流的步伐也有所加快。在融合风格绘画的创作过程中,创作主体双方的张力指向各自文化圈围的审美趣味,形成一对相反的矛盾力,另一组来自融风画消费群的张力使创作主体间的张力得到平衡;在某一方创作主体缺失的情况下,消费群的张力能以其审美诉求代替缺失主体一方介入作品创作,仍使张力达到平衡。因此,消费群是东西画风融合中不可忽视的第三方力量,某种程度上是他们决定了融风画的风格面貌。另一股影响融风画面貌不可忽视的无形力量是特定时代、地域的社会文化因素。不论是东西方创作主体还是融风画消费群,他们都来自一个相对封闭的文化圈围,有自己的审美趣味和习惯,这些习惯不可避免的影响到融风绘画的发展命运。
【Abstract】 The entry of western fine art into China in the Ming and Qing Dynasties is a great part of the meeting of the two heterogeneous civilizations. This was quite a slow process from the late Ming Dynasty to the mid Qing Dynasty and was not a continuous one. With the national strength decreasing drastically after the Opium War and the national confidence frustrated, China gradually began to respond to western invasion. At the end of the 19th century, education of fine art in China turned to western educational system for reference by way of sending students to the West to study fine art, thus increasing the degree of the influence of western fine art on China and speeding up the exchanges in the field of art. The tension between Chinese painters and western painters points to their respective aesthetic tastes in their respective cultural environments, forming a pair of opposite forces. In regard to the audience of hybrid works, the above-mentioned tension arrived at a certain balance, because the loss of an artistic creation on one party was compensated by another party’s involvement with an appeal to aesthetic quest. This indicates the inevitable force of the third party of audience in the integration of eastern and western art styles, forming in a certain degree the style of their hybrid works. Another invisible influence that cannot be ignored comes from specific historical, geographical and cultural factors. Both eastern and western painters and their audience came from relatively closed cultural environments with their own aesthetic tastes and habits, which was bound to determine the direction of the development of the hybrid works.