摘要
20世纪中国美术最具影响力的一种选择是以徐悲鸿和林风眠为代表的中西融合的倾向。"融合主义"开辟了中国艺术的新局面,但不能从根本上解决中国画的发展问题,并引发了一种民族虚无主义情绪。而潘天寿认为东西方艺术具有各自的传统和艺术特色,他强调中国画的独立价值,明确提出了"中西绘画,要拉开距离"的著名论断,主张中国画要在保持自身特色和"以我为主"的基础上不断丰富和发展。潘天寿通过对民族文化艺术的强调和民族精神的振兴而着眼于未来,"拉开距离"说具有深远的内在意蕴。
＂Blending＂, which refers to blending Chinese and Western paintings, as represented by Xu Beihoug and Lin Fengmian, was the most influential art trend in China in the 20th century. Although ＂blending theory＂ initiated a new prospect of Chinese art, it could not solve the basic problems in the development of traditional Chinese painting, only to arouse a feeling of nationalistic nihilism. With a thought that the art in the East and the West had their own traditions and characteristics, Pan emphasized the independence of traditional Chinese painting and clearly stated his point of view of＂making a distinction between Eastern and Western paintings＂, i.e. traditional Chinese painting should be enriched and develop independently while maintaining its own characteristics. Pan had a future vision through emphasizing the national art and culture and revitalizing the national spirit. His advocate for ＂distinction＂ has a far[]reaching connotation.
出处
《中国国家博物馆馆刊》
CSSCI
北大核心
2011年第3期18-30,共13页
Journal of National Museum of China
关键词
“融合主义”
“拉开距离”
独立价值
＂blending theory＂
＂making a distinction＂
independent value
