陈师曾中国画进步论之意义

The significance of Chen Shizeng’s view of progressivism of Chinese painting

陈师曾不同于徐悲鸿的中国画退步论,也不同于康有为、陈独秀否定元明清文人画的观点以至否定传统中国画的观点。陈师曾对中国绘画史做过较为深入的研究,自己又是国画大家,因而他对中国画的本质特征和艺术精神把握得更加真切,他有关中国画进步论的观点更加符合中国画发展的客观规律。同时,他的这些观点在当时新文化运动否定传统文化和美术革命的浪潮声中具有反潮流精神,他充分肯定中国画的进步和充分肯定文人画的价值,在20世纪二三十年代的中国画坛产生了重大影响。

Unlike Xu Beihong who holds the regressive view of Chinese painting, or Kang Youwei and Chen Duxiu who negate the success of the literati painting in the Ming Dynasty and the Qing Dynasty and thus even negate Chinese traditional painting, Chen Chiyu takes the view of progressivism of Chinese painting. Thanks to his in-depth research on the history of Chinese painting and being a great master of Chinese painting himself, Chen grasped the essence of the characteristics and spirit of Chinese painting, hence his view better represented the development law of Chinese painting. In the tide of the New Culture Movement denying Chinese traditional culture and of the fine arts reform, his view was of anti-tide spirit. His affirmation of the progressiveness of Chinese paintings and the value of literati painting was influential in the Chinese painting circle in the 20s and 30s of the twentieth century.