自我与他者——徐悲鸿在动荡中的油画本土化之旅(1927—1941)

The Self and the Other:The Localization Process of Xu Beihong ’s Oil Painting in Turbulence(1927-1941)

本文以徐悲鸿留法归国后在时代动荡中进行历史画创作的三部曲为其艺术创作的鼎盛期,对其历史画以及肖像、人体和风景展开研究,既梳理了其油画本土化的演进轨迹,也对其相关题材内涵及油画艺术语言进行了分析。作者认为,徐悲鸿历史画创作的三部曲是20世纪中国油画大型历史题材油画创作的代表,它以徐留法造就的深厚造型功底和其所汲取的学院派写实油画养分,填补了中国在引进油画的民国时期始终缺失大型历史画的空白。他对肖像、人体和风景的油画创作,是其将法国学院艺术传统与表现中国人的思想情感与人物形象相结合而进行的个人艺术风格探索,而这种个人艺术风格的形成,又无不具有油画本土化的意蕴。作者认为,徐悲鸿在其油画个性风貌形成的关键时期,也酝酿着从写实主义到现实主义的深刻转型。

This paper views Xu Beihong’s trilogy of historical paintings created in the turbulent times after he returned to China from studying in France as his heyday of artistic creation.By studying his historical paintings,portraits,human bodies and landscapes paintings,this paper not only sorts out the evolution track of his oil painting localization,but also analyzes the related themes and art language of his oil painting.The author holds that,Xu Beihong’s historical painting trilogy was the representative of the large-scale historical oil painting in 20 th century China when oil painting was introduced during the period of the Republic of China and large-scale historical paintings were missing,and he filled this gap with solid modeling skills and academician realistic oil painting techniques learned in France.His oil paintings of portraits,bodies and landscapes was an exploration of personal artistic style integrating art tradition of the French academy and the expression of Chinese thoughts and feelings and characters.The formation of this personal artistic style was a localization process of oil painting.The author believes that in the key period of the formation of his oil painting style,Xu Beihong was also incubating a profound transformation from naturalism to realism.