民族意识与跨媒介转向:近代洋画家兼涉水墨现象探微

National Consciousness and Cross Media Turn:An Analysis of the Phenomenon that Modern oil Painters Also Painted Chinese Paintings

二十世纪二三十年代,中国美术界出现了很多洋画家改行或兼从水墨画的群体性现象。究其原因,除洋画最初移植和生存的外部困境外,还涉及中西文化交流视域下深层的文化心理。一方面,留洋画家跨媒介的艺术实践旨在实现其民族身份的认同。另一方面,这也与这一时期文化领域的民族本位意识的复苏相关。他们至少从岭南画派的绘画实践、日本美术"东洋回顾"现象,以及传统写意精神与西方表现主义的共通等三个方面获得了中国画现代性转化的信心。

In the 1920 s and 1930 s,there was a group phenomenon that many foreign painters changed their careers or changed their careers from ink painting.In addition to the external difficulties of the original transplantation and survival of foreign paintings,it also concerns the deep cultural psychology in the perspective of cultural exchange between China and the West.On the one hand,the art practice of overseas Chinese painters aims to realize the identity and return of their national identity.On the other hand,it is also related to the revival of national standard consciousness in the cultural field in this period.They at least gained confidence in the transformation of the modernity of Chinese painting from three aspects:the practice of Lingnan School of painting,the phenomenon of"Oriental review"of Japanese art,and the common connection between traditional freehand brushwork spirit and the modernity of western expressionism.