民国时期《九歌图》的流传与新创

The Spread and New Creation of the Nine Songs in the Republic of China

晚清民初,中国画在“美术革命”的冲击下日渐式微。一些画家学者便主张从传统金石书画中寻找中国画的未来走向。屈子《九歌》题材历来备受画家青睐。民国时期,《九歌图》在刊载、传播与新创上呈现出多元开放的色彩:一批画家学者借古开今,以报刊、画册出版为阵营普及、传播历代《九歌图》名作;更值得注意的是一批画家杂糅中西,对《九歌图》进行再创作,为中国画的创新提供了新的审美视角与艺术定位。历代《九歌图》在民国时期的刊载、传播与再创作,作为一典型个案,也是整个近现代中国画改良运动的缩影。

In the late Qing Dynasty and the early Republic of China,Chinese painting gradually declined under the impact of“art revolution”.For the future development of Chinese painting,some painters and scholars advocated to look for insights in the traditional calligraphy and paintings.The subject of Nine Songs(《九歌》)has always been favored by painters.During the period of the Republic of China,pictures of Nine Songs showed a diversified features in its publication,dissemination and creation:a group of painters and scholars popularized and disseminated the masterpieces of the Nine Songs of the past dynasties with the publication of newspapers and albums.What’s more,there are also a group of painters who combined the western and Chinese painting techniques together,providing a new aesthetic perspective and artistic positioning for the re-creation of Nine Songs.In all,the publication,dissemination and re-creation of Nine Songs of previous historical periods in the Republic of China,as a typical case,is the epitome of the entire modern Chinese painting reform movement.