写生灵万物 寓家国时代——徐悲鸿动物花卉题材中国画创作的画学阐读与新旧之辩

Homeland and Era Metaphorized in Natural Beings:Interpretation of Xu Beihong's Chinese Painting of Animals and Flowers and the Debate between New and Old

作为对于20世纪中国美术产生重要影响的画家、美术教育家,徐悲鸿对于中国画学传统的写实改良和相关思想主张,一直是美术史界、美术教育领域关注和研究的焦点。本文通过梳理阐读徐悲鸿动物花卉题材中国画创作的发展流变与艺术特点,论述了其早期笔墨线条"旧学"功底的积淀,对后来深入艺术本体层面的画学改良所起到的作用。这些讨论对于我们如何理解徐悲鸿与中国画传统之间的关系、如何评判中国画现代发展进程中"新"、"旧"转换的辩证关系,都提供了崭新的视角和富有建设意义的思考。

As a painter and art educator with an important influence on Chinese art in the 20 th century,Xu Beihong tried to improve the traditional Chinese painting,and his related ideas over realistic improvement have always been the focus of art history and art education in China.This paper expounds the development and artistic characteristics of Xu Beihong’s Chinese painting of animals and flowers,and discusses the impact of his early brush and ink painting accumulation on the later improvement of painting on the level of art noumenon.These discussions provide us with a new perspective and constructive thinking on how to understand the relationship between Xu Beihong and Chinese painting tradition,and how to judge the dialectical relationship between the transformation of“new”and“old”in the modern development process of Chinese painting.