發(fā)布時間：2018-03-29 12:08

  本文選題：岡倉天心　切入點：徐悲鴻　出處：《華東師范大學(xué)》2012年碩士論文

【摘要】：19世紀(jì)的中后期,在西方世界的沖擊下日本主動地進(jìn)行了日本近代史上著名的“明治維新”。于此同時,在美術(shù)界日本也醞釀著翻天覆地的變革。被譽(yù)為日本近代美術(shù)之父的岡倉天心。發(fā)起的新日本畫運(yùn)動,培養(yǎng)了橫山大觀、菱田春草、下村觀山等一大批明治初期的日本畫家。在這一場美術(shù)變革中,岡倉天心通過政府任職+高層社交、多方宣講+著述出版、創(chuàng)辦學(xué)校+組建社團(tuán)、舉辦展覽+設(shè)立獎項等方式,逐步地接近他所著述的“東方的理想”。為日本近代美術(shù)的發(fā)展尤其是日本畫的創(chuàng)新起到里程碑式的作用。 20世紀(jì)初期的中國面臨著比“明治維新”前的日本社會更加復(fù)雜的局面和困境,國家處于半殖民地,半封建的狀況。內(nèi)憂外患,這個擁有五千年歷史的老大“中華”的變革將勢在必行。上至政治體制下至生活方式,都面臨著激烈地變革。在美術(shù)領(lǐng)域面臨著這個時代類似的問題。徐悲鴻出生于甲午海戰(zhàn)后一年的1895年。那時的日本新美術(shù)運(yùn)動正在岡倉天心的帶領(lǐng)下正如火如荼地進(jìn)行著,已顯出一番成效。中日兩國近代美術(shù)變革的步伐在這個時間節(jié)點已被拉開。成年后的徐悲鴻師從國學(xué)大師康有為,深受康“卑薄四王,推崇宋法”并倡導(dǎo)“合中西而成畫學(xué)新紀(jì)元”思想的影響。而當(dāng)時中國畫壇一味摹古的迂腐氛圍也大大地刺激了徐悲鴻。美術(shù)界要求改革中國畫的聲浪也極其強(qiáng)烈,都激勵著徐悲鴻對美術(shù)變革的訴求。1917年徐悲鴻到日本進(jìn)行了大半年的考察,被日本畫受西方藝術(shù)影響下的變革之新風(fēng)所震撼。日本之行進(jìn)一步堅定了徐悲鴻改良中國畫的決心,并于1919年赴法開始了為期8年的歐洲留學(xué)。1927年徐悲鴻回國,以上海的南國藝術(shù)社和當(dāng)時南京的國立中央大學(xué)為基地,用新式的學(xué)院式美術(shù)教學(xué)體制和寫實主義的繪畫手法來改良中國畫。 徐悲鴻以寫實主義美學(xué)觀來改良當(dāng)時中國畫壇,確為當(dāng)時的畫壇帶來新風(fēng)。但是,隨著三十年代的抗戰(zhàn)時代的到來,徐悲鴻的“文藝為人民服務(wù)”的藝術(shù)觀,順應(yīng)了當(dāng)時時代主流意識形態(tài)的需求。也就使徐悲鴻的“學(xué)院派寫實主義繪畫”成為了抗戰(zhàn)藝術(shù)的指南針；成為20世紀(jì)整個國家美術(shù)創(chuàng)作中的主導(dǎo)藝術(shù)創(chuàng)作模式,并成為延續(xù)至今的中國美術(shù)教育領(lǐng)域以及中國畫教學(xué)和發(fā)展的模式先驅(qū)。作為近代日本畫轉(zhuǎn)型的主導(dǎo)者岡倉天心認(rèn)為吸取西方繪畫的精神必須是在鞏固日本美術(shù)之基礎(chǔ)上進(jìn)行的。并且指導(dǎo)學(xué)生學(xué)習(xí)日本美術(shù)史上各個時期的畫風(fēng),他本人對西洋繪畫的態(tài)度是主張與西方的藝術(shù)發(fā)展趨勢保持同步,而不是追慕“最低潮階段的歐洲藝術(shù)”。岡倉天心所認(rèn)為的“最低潮的階段的歐洲藝術(shù)”,即為在西方已經(jīng)沒落的“學(xué)院派寫實主義藝術(shù)”,并且此風(fēng)在明治初期的工部美術(shù)學(xué)校的“洋畫運(yùn)動”中已有所扎根于日本畫壇。 明治時期是日本全面學(xué)習(xí)西方文化的開放時期,岡倉天心之所以能從整體上重新認(rèn)識本國美術(shù)傳統(tǒng),以及西方美術(shù)各個時期的繪畫流派和風(fēng)格,也是基于明治時期開放式的文化輸入政策。作為文部省官員的岡倉天心堅定地貫徹了當(dāng)時日本的國家意識——“破舊有之陋習(xí)”,“求知于世界”。積極主動地學(xué)習(xí)西方美術(shù)的本質(zhì)、核心、根基。風(fēng)格、藝術(shù)理念各異的“派會”風(fēng)起云涌,并立同行。美術(shù)大大地發(fā)展進(jìn)步。日本之所以能如此迅速且全方位地吸收外來文化,根源于其民族文化之本,即開放式的混合文化特質(zhì)為日本文化之一大特征。日語本身的語法結(jié)構(gòu)即能看出這種特點。以及傳統(tǒng)文化對日本本身之牽絆相對中國來說要小的多,因此,日本能夠迅速地吸收異質(zhì)文化的精髓。民國初期徐悲鴻認(rèn)識到,中國傳統(tǒng)的文人水墨畫在清末似乎已經(jīng)走入了死胡同,改良它勢在必行。法國8年的留學(xué)帶來了學(xué)院派的寫實主義藝術(shù),徐悲鴻用自己的畢生精力實踐著傳統(tǒng)水墨面與寫實主義美術(shù)的結(jié)合。希望通過吸收異質(zhì)文化來發(fā)展中國畫。學(xué)院派的教學(xué)模式創(chuàng)立也為中國美術(shù)的發(fā)展帶來了新的生機(jī),培養(yǎng)了一大批新興美術(shù)人才。可是中國傳統(tǒng)文化遠(yuǎn)比日本復(fù)雜堅實的多,深刻地制約著中國每邁出的一小步。徐悲鴻美術(shù)改良的貢獻(xiàn)在中國近代美術(shù)史上的意義是巨大的。但是,由于時代、歷史之因素也造成今天中國藝術(shù)發(fā)展多樣性缺失的,以及對審美學(xué)自身規(guī)律的忽視所造成的弊端。 自古以來日本美術(shù)就和中國美術(shù)有千絲萬縷的聯(lián)系,兩國文化的聯(lián)系性成為了比對的基礎(chǔ)。本論文試圖以岡倉天心和徐悲鴻為主線,通過分析他們各自面對傳統(tǒng)文化、西化浪潮時的選擇態(tài)度異同之根源,以及由此產(chǎn)生的對后世日中兩國美術(shù)發(fā)展態(tài)勢截然不同的深層次原因。
[Abstract]:In late nineteenth Century, the Japanese initiative to carry out the modern history of Japan's famous "Meiji Restoration" in the western world under the impact. At the same time, in the arts of Japanese brewing revolution. Turn the world upside down known as the father of modern Japanese art Oka Kura Tianxin. Initiated by the Nippon art movement, Hengshan grand culture, Hishida spring grass, under the village concept such as a large number of early Meiji Japan artist. In this field the change of art, Oka Kura tenshin through government + tall social office, various preaching + works publishing, founded the school set up exhibition + + community awards etc., gradually approaching his writings in the East "ideal. For the development of Japanese modern art especially Japanese painting innovation plays the role of milepost type.
In early twentieth Century the Chinese faces is more complex than the "Meiji Restoration" before the Japanese social situation and predicament, countries in the semi colonial and semi feudal status. It has a history of 5000 years of domestic trouble and foreign invasion, "the boss" change will be imperative. To the political system and way of life, are facing the fierce change in the field of art. Facing the era of similar problems. Xu Beihong was born in the year of 1895 after the Sino Japanese war. At that time the Japanese new art movement is under the leadership of Oka Kura Tianxin is going on like a raging fire, have shown some effectiveness. In Japanese modern art the pace of change has been opened at this time node. Adult Xu Beihong under the tutelage of Ancient Chinese Literature Search master Kang Youwei, by "thin and low esteem, Kang song method" and advocate "effect of combined Chinese and Western painting into a new era of" thought. At that time, China A pedantic style painting atmosphere also greatly stimulated the Xu Beihong art reform Chinese painting sound is extremely strong, inspires to Japan were investigated in the first half of the Xu Beihong on the reform of art appeal.1917 Xu Beihong, by the Japanese painting by Western art under the influence of the change of air shock in Japan. For further improvement of the firm determination of Xu Beihong China painting, and in 1919 France began a period of 8 years of study in Europe.1927 Xu Beihong returned to Shanghai, Southern Art Society and was Nanjing's national Centre College as a base for new college art teaching system and realistic painting technique to improve Chinese painting.
Xu Beihong to realism aesthetics to improve Chinese painting at that time, it was the painting brings fresh air. However, with the 30s war era, Xu Beihong's "the service for people" concept art, conform to the needs of that era mainstream ideology. Xu Beihong also makes the "School of realistic painting" has become the art the compass; in twentieth Century to become the national art in the creation of the dominant mode of artistic creation, and become the pioneer of continuation of the China mode of art education and China painting teaching and development. As a leader of the modern transformation of Japanese painting Oka Kura tenshin that absorbs the western painting spirit must be in the consolidation of Japanese fine arts basis. To guide the students to learn Japanese art various periods in the history of painting, Western painting himself on the approach is advocated with the West Art development to keep pace of the party, and not the pursuit for "the ebb phase of European art". Oka Kura tenshin considers "the lowest stage of European art", namely in the West has been the decline of "academic realism art", Western painting and the air ministry in early Meiji art school "movement" has roots in Japanese painting.
Meiji period Japan comprehensive learning western culture and opening period, Oka Kura tenshin can rediscover their traditional art as a whole, and Western art in various periods of painting genre and style, but also the cultural input policy based on the Meiji period open. As the Ministry officials Oka Kura Tianxin resolutely implemented the Japanese national consciousness "old bad habits", "knowledge in the world. To actively learn western art essence, the core of the foundation. The concept of art style, different" pie "and the same line. Raging like a storm, art greatly development and progress. Japan has been able to so quickly and fully absorb foreign culture, rooted in the the national culture this, open mixed culture traits of Japanese culture characteristics. Japanese language syntax structure can see this kind of characteristics as well as traditional paper. In Japan itself. China is relatively much smaller, therefore, Japan can quickly absorb the essence of foreign culture. In the early Republic of China Xu Beihong, Chinese traditional literati painting in the late Qing Dynasty seems to have reached a dead end, improved it is imperative. 8 years of French students brought academic realism art. Xu Beihong's practice of combination of traditional Chinese ink painting and realism art in his own lifetime. Hope to the development of China painting through the absorption of foreign culture. The creation of school teaching mode has brought new vitality for the development of China art, cultivate a large number of emerging arts talents. But China traditional culture more solid than Japan complex, greatly restricting each small step Chinese. The significance of Xu Beihong's art improvement contribution in China modern art history is huge. However, because of the age, The factors of history also cause the lack of the diversity of Chinese art development and the malpractice of the neglect of the law of aesthetics.
Since ancient times, Japanese art and art China are inextricably linked, with culture of the two countries as comparison basis. This thesis attempts to Oka Kura day and Xu Beihong as the main line, through the analysis of their own in the face of traditional culture, the wave of westernization and the attitude of the similarities and differences of origin, and the trend of development of the two countries in the later days the art of different reasons.

【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J209.1

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本文編號：1681061