摘要
从表面上看,丰子恺“中国美术优胜论”的提出,只是基于世界范围内艺术发展的“表现主义”趋向(中国化)的客观事实。然而这种“客观性”基础乃是丰氏本人架构起来的。在他的艺术思想中,印象派以后西洋美术的演进趋势,一方面是科学主义的凸显,另一面同时也是作者主体意识不断强化的过程,即所谓朝着“表现的艺术”迈进的过程。这使他敏感地意识到了科学对艺术的入侵。正由于此,出于对艺术独立地位的维护,他刻意“遗忘”了印象派以后西洋美术的科学主义特性,而竭力张扬了它的“表现主义”倾向,并将这种“表现主义艺术”与中国传统的艺术精神在理论的层面沟通起来。丰子恺“中国美术优胜论”的提出,实际上负有一种遏止科学实用精神、维护艺术独立地位的使命,并且和当时中国“立人”的时代主题是一脉相承的。
Looking at the surface of things, the advance of the theory of superiority of Chinese fine arts by Feng Zikai is only an objective fact in view of the tendency of artistic expressionism in the world. However, Feng himself erected this objective basis. In his artistic thoughts the evolutionary trend of Western arts after impressionism adhered to scientism, but on the other hand, it also reflected a process in which the author's subjective consciousness was gradually strengthened. He was sensitively conscious of the invastion of science into art. In view of this, Feng purposefully 'forgot' scientific characteristics of Western art after impressionism, while actively publicizing its tendency of expressionism and communicating it with the traditional Chinese artistic spirit on a theoretical level. His theory was aimed at checking the scientific utilitarian spirit and safeguarding the independent position of art.
出处
《华东师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2002年第5期111-117,122,共8页
Journal of East China Normal University（Humanities and Social Sciences）
