20世纪上半叶中国画的现代性——以自然观的变化为中心

Modernity of Chinese Painting in the First Half of the 20th Century:Centered on Changes in the Concept of Nature

在20世纪上半叶关于中国画现代性转变的探索中,绘画的自然观也发生着一系列的变化:一是以金城为代表的守成派,延续了传统文人画的自然观,通过山水"言志载道",继续遣兴抒怀的文人雅趣。二是用写实方式来改良中国画,从仁山智水的"心性自然"进入到了公共话语和政治意识形态话语中去,"自然"被注入了社会变革的主题。与此同时,以林风眠为代表的"中西调和",探索的是一条以自然的有机形式作为实现中国画现代性转换的艺术实践之路,强调具有东西文化差异性的形式语言。另外以黄宾虹、张大千为代表,从中国画内部进行推进,通过对笔法的更新以及色彩的独立,使中国画走向抽象的现代语言。

As artists continued to explore the modernistic transformation of Chinese painting in the first half of the 20th century,a series of changes took place in the view of nature in painting.First,the Old Guard,represented by Jin Cheng,inherited the natural view of traditional literati painting and continued the literati elegance of expressing their aspirations and conveying their spirits through the landscape painting.Second,some artists tried to improve Chinese painting in a realistic way.They started to discuss public discourse and political ideology with paintings rather than only focused on human nature,thus"nature"was injected with the theme of social change.At the same time,artists represented by Lin Fengmian adhered to the concept of"Chinese-West cultural coordination",embarking on a road of artistic practice to realize the modernistic transformation of Chinese painting in a natural organic form,with an emphasis on formal languages with cultural differences between east and west.Furthermore,Huang Binhong,Zhang Daqian and other artists advanced from internal elements of Chinese painting and innovated Chinese painting with an abstract modern language through the renewal of brushwork and the independence of color.