对徐悲鸿关于西方现代派艺术态度的重新检省

Observations on Xu Beihong’s Attitudes Towards Western Modernist Art

其一,徐悲鸿对西方现代派艺术的态度总体上是激烈反对的,有着他不可回避的个人迷雾和时代局限,但也深有缘由。其二,从学养渊源来说,徐悲鸿对现代派绘画的态度受到其法国老师的影响。他选择古典写实主义而未选择西方现代派,一方面,是顺应也感召了"艺术救国"的时代思潮;另一方面,也说明了中国美术现代性进程的艰难与复杂性,中西现代之路的差异性、错位性与相互借鉴的疗救性。其三,对塞尚的深研、误读与拒斥是徐悲鸿不属于印象派之后的现代艺术的一个旁证,也是他肩扛写实主义大旗以疗救民生的一个注释,当理性阐释。其四,徐悲鸿并没有把写实主义固执地当作永远或唯一的方式,他对西方现代派艺术并非全盘否定,而是在缝隙处存有一丝丝肯定。

First of all,there are kinds of deep-seated reasons why Xu Beihong vociferously opposed the Western modernist art even though he was unable to get rid of the inevitable personal and temporal limitations.Second,Xu Beihong’s attitudes towards modernist painting was influenced by his French teacher from the perspective of learning and cultivation.His advocacy of classical Realism over Western Modernism,on the one hand,was in conformity with the Zeitgeist of"saving the nation by art";On the other hand,it shows the difficulty and complexity of the modernity process of Chinese art,and the difference,dislocation and influence of mutual learning between Chinese and Western modernization.Third,Xu Beihong’s deep study,misinterpretation and repulsion of Cézanne also indirectly prove that his style does not belong to the modern art after Impressionism,explaining that he used Realism to heal and save the country.Therefore,it should be interpreted rationally.Fourth,Xu Beihong still had a little faith in Western modernist art in some aspects instead of considering Realism as the only way.