论“五四”前后中国美术批评中“写实”观念的崛起

The Rise of the Concept of Realism in Chinese Art Criticism before and after the " May 4th" Movement

20世纪,围绕中国画的争议、改革都与西方写实观念或技法的褒贬争议有关。写实,成为改造中国画,试图开辟中国美术新道路的重要"处方"。"五四"前后康有为、陈独秀、梁启超、蔡元培、鲁迅等维新派或革命派的思想家、革命者强调与呼吁对美术创作的写实性追求,徐悲鸿、刘海粟、林风眠等画家也提倡与坚持写实的艺术主张。但从20世纪20年代中期开始,美术界却对写实进行了较为普遍的反思。对写实的反思特别是鉴于对国画认识的深入,越过了五四时期激进反传统的历史阶段之后,对于国画"写实"的问题反思更为尖锐。郑午昌、陈师曾、倪贻德等就对写实提出了自己的反思。

In the twentieth century, the controversy surrounding Chinese painting and the demand for reform therein were re- lated to positive and negative reactions to Western realist painting concepts and techniques and realism became an important tecipe＇for reforming and blazing a new trail for Chinese painting. Before and after the May 4th Movement reformist and rev- olutionary thinkers such as Kangyouwei, Chen Duxiu, Liang Qichao, Cai yuanpei and Luxun stressed and called for realist pursuit in painting and painters such as Liu Haisu, Xu Beihong and Lin Fengmian championed and insisted on realism in art. But the mid-1920s witnessed a reflection in the art circles on realism and Chinese painting the profundity of which surpassed that of the radical anti-traditional phase of the May 4th Movement. Zheng Wuchang, Chen Shizeng and Ni Yide put forward their ideas of realism.