在自我否定和整合中一路走来——明治以来的日本画发展脉络梳理

Developing in Self-denial and Integration, the Development of Japanese Painting since the Meiji Restoration

一方面,从外部政治环境上来讲,明治维新以来,特别是随着中日甲午战争的结束,昔日的中华帝国走向衰落,中华文化在亚洲的领导者地位开始倾覆。西方强势文化的渗入使日本开始追求经济独立和文化自立,产生排清思想,中国水墨画(南画)受到排斥。另一方面,人们认为水墨画在对现实题材的表现上具有局限性,是只"嬉笑怒骂,抚愈不平之事"。福泽榆吉的《脱亚论》唤醒了日本与强者为伍的民族性格。美国学者诺洛萨对"真诚之画"的阐述等,共同开辟了日本画诞生的土壤。文章着力描写从冈仓天心的艺术选择到狩野芳崖、桥本雅邦的教学体系的创立,从横山大观领袖地位的确立到后来奥村土牛的艺术实践等内容。波浪壮阔百余年间,日本画在西方油画与东方水墨画(南画)之间发展成熟起来。这也是日本民族在对待外来文明之时,通过消化,吸收而得到的另一个文化成果。

For one thing, environmentally speaking about politics, the old Chinese Empire, especially with the end of the Sino-Japanese War, was on the decline after the Meiji restoration. The leadership position of Chinese culture in Asia began to fall. For another, it was thought that ink painting has limitation in depicting the reality and it just ＂give ridicules and criticisms and heal grievances.＂ The ＂Theory of Abandoning Asia＂ written by Fukuzawa Yoshi woke up the Japanese national character about companying with the strong. The explanation on ＂A genuine picture＂ from an American scholar named Nolosa, adding other scholars＇ contribution,cultivated the soil of the Japanese painting. In this paper now, writer is trying to describe the history from the art choice of Oka Kura tenshin to the establishment of teaching system by Souya Ya Fang and Hashimoto Masakuni, as well as the content from the establishment of the Yokoyama Taikan＇ leadership status to Okumura Tuniu＇s artistic practice. The Japanese painting grown and flowered between the western oil paintings and the eastern ink painting（the south painting）. It is Japan＇s another cultural fruit when meeting foreign civilization through digestion and assimilation.