自由的问道者——论“五四”前后的刘海粟

A Liberal Artist Searching for the Tao:Liu Haisu Fore-and-aft May Fourth Period

就刘海粟而言,站在中西艺术"对应"的立场上,必然导致他左右兼顾——既站在中国画的立场上反对学画必从写实入手的论调,也反对国粹派对新派画的攻击。因此,他反对临摹抄袭,注重写生,但不是"如实描写",自然对象在他眼中只是个题目,他在借题发挥。有意思的是,刘海粟也没有进入纯粹抽象的绘画领域,也许这与传统文人画的影响有关。在实践上,他一方面在国画上使用西方表现主义的深红黪绿,另一方面在油画上又着意于中国水墨写意的横涂竖抹;在理论上,我们看到刘海粟在中西文化交流中的认同感——一种不排斥自我的文化认同,在认同中重新估价自身文化的价值,在自我的认知结构上不做任何改变,这就是他的文化自觉。

As an artist who believes in the parallelism of Chinese and western art, Liu Haisu objects that beginners must firstly learn to paint realistically, and he also objects the attack of new painting school from people who believe in traditional Chinese art. He objects to imitate and copy, but he pays attention to paint from life, not equal to depict realistically, since natural object is a topic and the painter is express his own ideas by painting. However, it is very interesting that Liu Haisu does not enter into a pure abstract painting area. This is perhaps because he is impacted by traditional literati painting. In practice, on one hand, he applies dark red and green to traditional Chinese painting creation, and on the other hand, he applies peculiar Chinese strokes to oil painting. In theory, we could find a sense of identity in Chinese and Western cultural communication. He re - examines the value of Chinese culture in such kind of identity, and he does not make any changes in his own recognition structure, and this is his cultural self - consciousness.