再论20世纪初广东画坛“新”“旧”之争及其启示--基于“方黄之争”的考察

On Debate between"New"and"Old"Paintings among Guangdong Art Circles in the Early 20th Century and its Enlightenment:An Investigation of"Fang Huang Debate"

针对将“方黄之争”的肇始视作《新国画与旧国画》的发表和把卷入该争论的双方视作“革新”与“保守”、“西化”与“反西化”之间泾渭分明的对垒的观点,本文在立足“方黄之争”相关文本的基础上,指出“方黄之争”始于黄般若发表《剽窃新派与创造之区别》,而非方人定被授意发表《新国画与旧国画》。然后,本文着重诠释“方黄之争”的内涵,即将辩论双方的分歧总结为如下三个问题:第一,国画创新是否有必要引入写实主义?第二,绘画艺术是否具有民族性?第三,国画题材是选择现实生活,还是文人玄想?最后,本文提纲挈领地总结“方黄之争”对中国传统文化现代性转型的启示。

Some viewpoints hold that the "debate between Fang Rending and Huang Banruo" began with the publication of the New Chinese Painting and Old Chinese Painting and that the two sides involved in the debate were in the clear-cut rivalry between "innovation" and "conservatism", and between "Westernization" and "anti-Westernization". In response to these viewpoints and based on the relevant texts of the "Fang Huang Debate", this paper points out that the "Fang Huang Debate" started from the publication of The Difference between Plagiarizing New School and Creation by Huang Banruo, rather than the publication of New Chinese Painting and Old Chinese Painting by Fang Dingren. Then, the paper focuses on the interpretation of the connotation of "Fang Huang Debate",and summarizes the differences between the two sides of the debate as the following three questions. First, is it necessary to introduce realism into the innovation of traditional Chinese painting? Second, is the art of painting national? Third, is the subject of traditional Chinese painting real-life or literati fantasy? Finally, this paper summarizes the enlightenment of the "Fang Huang Debate" on the transformation of Chinese traditional culture modernity.