摘要
“道咸画学中兴”说 ,对晚清绘画成就作出了明确肯定 ,是黄宾虹在美术史学方面的主要观点之一 ,也代表了民国初年部分画界精英对中国近代绘画史的共识。近代全盘西化的历史观 ,严重阻碍了对中国民族文化艺术自身发展成就的应有认识。在艺术史上 ,晚清的金石学繁荣和书学中兴 ,曾经带动了绘画的时代风格转化。“道咸画学中兴”是被长期忽略的历史事实 ,在近代中国美术史出版物中未能得到充分的记述。本文从史实出发 ,重点分析了“道咸画学中兴”说的合理性 ,并对黄宾虹未提及的道咸画家 ,作出了实例补正。
“Painting was revived during the Reigns of Daoguang (1821-1850) and Xianfeng (1851-1861),” Huang Binhong came to this realization in his arduous study of art history. His positive evaluation of the achievement in painting in late Qing dynasty was common among the literati in the early years of the National Republic. The painting revival emerged after the revolution of calligraphy as a result of the new textual study called “kaojuxue” in late Qing Dynasty. With the shaping of a new style of painting and the establishment of new aesthetic standards, a new tradition came into being. This is Huang Binhong’s idea of painting revival that merits further studies.
出处
《文艺研究》
CSSCI
北大核心
2004年第6期100-107,共8页
Literature & Art Studies
