美术沙龙在民国初期北京的兴起、发展与影响——以京派画家的实践为例

The Rise, Development and Influence of Art Salon in the Early RepublicanBeijing: The Example of the Beijing School of Painting

1910—1930年代,沙龙逐渐成为一种全国流行的美术新现象,主要分布在北京和上海两地。以民国初期(1912—1927年)北京画坛为例,引介和推广沙龙的实践是京派画家推动国画现代化的一种尝试。相比上海西画家直接移植法国沙龙的经验,民国初期北京画坛的沙龙有两点特殊性:一是发挥主导作用的是国画家而非西画家;二是引介沙龙的参照系是日本而非法国。例如北京大学画法研究会和花阴画会等现代美术社团的运行均体现了日本的影响。通过采用展览、公关和杂志出版等现代组织方法,京派画家在鬻艺、自我宣传以及培养学生等方式上均发生了改变,这些改变有力地推动了国画的现代化。

From 1910 to 1930,salon gradually became a new art phenomenon across China,featuring the art centres of Beijing and Shanghai.Taking the Beijing world of painting in the early Republic of China(1912—1927)as an example,the practice of introducing and promoting art salon was an attempt made by Beijing School painters to modernize national painting.Comparing with the experience of Shanghai art salon,which directly followed the example of France,the art salon in Beijing differentiated itself by two particularities:the practitioner of national painting,rather than that of western painting,played the dominant role in transplanting salon to the local art world;The reference they followed is Japan rather than France.For instance,the operation of modern art societies such as the Research Institute of Painterly Studies of Peking University and the Shadow of Flowers Painting Society all demonstrated the influence of Japan.By adopting the so-called“modern organizational techniques”such as exhibitions,public relations,advertising and sales,Beijing School painters witnessed significant changes in the way of selling their artworks,self-promotion and cultivating junior artists.These changes strongly promoted the modernization of national painting.