高剑父“新国画”的去日本化之路

On the De-Nipponization Road of GAO Jianfu's"New Chinese Painting"

高剑父是20世纪初岭南画派的灵魂人物,他以折中中西、融汇古今的"新国画"观活跃于近现代画坛,对后世影响深远。然而他早年留学日本的经历,使得他画中的折中意味颇具日本气息,惹人非议。为了在自己宣扬的"艺术革命"实践中不遭人非议,同时避免在抗日战争的特殊时期成为文艺界舆论讨伐的对象,他毅然通过外出游历写生及对传统绘画笔墨趣味的回归等举措,渐次走上了去日本化之路。

Gao Jianfu was the soul of the Guangdong Lingnan School of Painting in the early 20th century.He was active in the modern painting circles and pronounded the"new Chinese painting"view of"compromising Chinese and Western,blending ancient and modern",and exerted a profound influence on later generations.However,his early experience of as an art student in Japan caused the eclectic meaning of his paintings to acquire a quite Japanese taste,which aroused strong criticism.In order to maintain his position within the"art revolution",he so heartedly advocated,and in order to avoid becoming an object of criticism by the literary and art circles during the delicate period of the Sino-Japanese War,Gao Jianfu restored to measures such as plein-air painting and returning to Chinese traditional brush-and-ink painting,all of which gradually led him to eliminate the Japanese elements present in his paintings.