摘要
早年留学日本的李叔同是近代图画自觉的关键人物。笔者新发现的李叔同1907年的两篇佚文《图画概论》《西洋画科》,是中国近代美术史上的重要早期文献。这些佚文建构起完整的现代图画画法秩序,冲破传统国画的审美秩序,并将图画观在日本明治时期的兴起溯源到万国博览会所带来的美术竞争的时代背景。在这一宏阔的图画学视野中,李叔同于1890年代(日本明治二十年代)将“风景的发现”这一绘画命题引入中国,首次讨论了近代美术写生背后的三原色、四间色的光学原理。相比于同时期形而上的美术讨论,李叔同侧重形而下的图画教育体制的建构,并将图画教育的宗旨导向“世界一大美术国”的文明理想。这在近代中国美术思潮中开启了一条图画自觉的独特路径。
Li Shutong,who studied in Japan in his early years,is the key figure of modern picture consciousness.Li Shutong's two new lost articles in 1907,Introduction to Pictures and Western Painting,are important early documents in the history of modern Chinese art.These lost essays constructed a complete order of modern picture painting,broke through the aesthetic order of traditional Chinese painting,and traced the rise of picture view in the period of Meiji period in of Japan to the background of art competition brought by the world Exposition.In this broad picture vision,Li Shutong introduced the proposition of"discovery of landscape"in the 1920s of Meiji(about 1890s)into China,and for the first time discussed the optical principle of three primary colors and four secondary colors behind modern art sketchmaking.Li Shutong focused on the construction of the physical picture education system,and guided the purpose of picture education to the civilized ideal of"one of the world's great art countries".This opened a unique path of pictorial self-consciousness in the modern Chinese art trend.
作者
陈晶晶
CHEN Jing-jing(College of Literature,Henan Normal University,Xinxiang,Henan 453007)
出处
《艺术百家》
CSSCI
北大核心
2023年第5期149-158,共10页
Hundred Schools In Arts
基金
2022年度国家社科基金青年项目“民国京剧文人编剧资料整理与研究”(项目编号:22CZW040)阶段性成果之一。
