陈师曾北京时期画学思想的“会通”与“适变”

The"Convergence"and"Adaptation"of Chen Shizeng's Thoughts on Painting During His Stay in Beijing

本文从陈师曾的“画界”视野出发,考察其在京10年画学思想的丰富内涵和偕时发展,论述其画学思想如何在时势挤迫中,由融会贯通与全面铺展转向对文人画价值进行重新挖掘与阐扬,这一转变不是单向度的复归传统,而是在“会通”与“适变”中体现出有所持守的文化自觉。通过这一研究,希望可以破除学界对陈师曾理论派性界定的简单化与扁平化,并消解近现代美术史研究中流行的二元对立思维模式。

This article examines the rich connotation and development of Chen Shizeng's thoughts on painting during his stay in Beijing for 10 years from the perspective of his"painting world"vision,and discusses how he shifted his thoughts from integration and comprehensive development to re-exploring and interpreting the value of literati paintings despite pressure from that era,which was not a simple return to tradition,but a cultural awareness that he maintained in"convergence"and"adaptation".It is hoped that this study could change the simple,flat definition of Chen Shizeng's theories in the academic community,and eliminate the dichotomous thinking model popular in the research of modern and contemporary art history.