徐悲鴻中國畫改良之探析

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Title:	徐悲鴻中國畫改良之探析
Other Titles:	Analyzing Xu Beihong's Reform of Chinese Painting
Authors:	白璋 Bai, Chang
Contributors:	倪再沁 Ni, Zai-Cin 東海大學美術學系
Keywords:	中國畫、法國寫實主義、文人美學、寫實、寫意 Chinese painting, French Realism, literatus aesthetics, realism, xie yi.
Date:	2009
Issue Date:	2011-02-18T08:51:31Z (UTC)
Abstract:	1919年中國的五四運動，對古老的中國文化做全面的除舊布新。隨著科學與民主的帶動，文學與藝術也掀起了改革的浪潮。在美術界，承先啟後、影響力最大的當推徐悲鴻。他在1918年北京大學的演講中首次提到〈中國畫改良之方法〉（1920年改名為〈中國畫改良論〉），從此以後的五十年，把中國的繪畫引領至西方繪畫的方向。徐悲鴻認為因襲陳古的中國水墨畫必需注入活水，尋找新的出路。他以法國的寫實主義為目標、以寫生素描的訓練為手段，架構了〈中國畫改良論〉。強調寫實與素描的重要，同時指出中國畫的改良要從人物畫入手。除了油畫外，徐悲鴻也身體力行的從事水墨創作。他繪水墨畫的題材很廣，舉凡山水、人物、走獸、花鳥無所不畫，但以走獸與人物畫較多。由於早年在歐洲經常對馬寫生素描，再加上當時中國內憂外患、戰事頻仍，所以他的水墨畫以畫戰馬為最多，求畫者眾。徐悲鴻畫人物畫非常重視寫生素描的技法，他的人物面容常是栩栩如生，頗符合他在〈中國畫改良論〉的要求。除此之外，其他的水墨畫就界於寫實與寫意之間，甚至到晚期幾乎都是寫意，重回明清傳統的路線。本文即是對徐悲鴻的水墨畫與他自己提出的〈中國畫改良論〉做比較對照，來分析徐悲鴻本身的實踐是否落實、並能達成〈中國畫改良論〉的目標？這樣的改革是否能有效的提昇水墨畫的筆墨趣味與美感境界？同時也對徐悲鴻〈中國畫改良論〉這股風潮給後世所帶來的影響做一番探討。 Abstract The Chinese May 4th Movement In 1919 caused a massive revolution of Chinese culture. The movement not only made the impact on fast development of science and democracy, but also help forward the revolutionary change in literature and art. In the filed of fine arts, Xu Beihong was recognized as the most influential artist during that period. In his lecture at Beijing University in 1918, he mentioned “ Methods of Chinese Painting Reform” for the first time (later in 1920, he changed the title to “Thoery of Chinese Painting Reform”). For the following 50 years, his theory led the Chinese painting toward Westernization.Xu Beihong believed that the ancient Chinese painting could have a new future by implanting some western art concepts and skills. Taking French realism as the goal, He employed natural sketching skill to construct the method of reforming Chinese painting. He emphasized on realistic painting and sketching, and considered that the amelioration should be started with the portrait. In order to set an example, Xu Beihong, as an oil painting artist, also engaged in the Chinese painting creation.He used variety of subjects for his Chinese painting. Anything, such as sceneries, characters, animals, flowers and birds, could be his painting theme. However, most of his Chinese paintings are about warhorses, that might be influenced by his early horse sketching experience in Europe and endless internal revolt and foreign invasion at the times. Xu Beihong applied a lot of sketching skills for his portrait painting. As the result, his portraits are so realistic that are as vivid as life, just as he expected in his reforming theory. His other Chinese paintings, however, can be classified between realism and conceptualism. It seems that his painting style changed back to traditional conceptual way as the paintings of Ming Dynasty and Ching Dynasty. This study compared Xu Beihong’s Chinese paintings with his viewpoints of “Method of Reforming Chinese painting” and tried to answer the questions of “Did Xu Beihong really implemented his own theory in his Chinese painting?”, “Have the goal of Chinese painting reforming been reached?” and “Whether the reforming made Chinese paintings more interesting and aesthetic?” In addition, the influences of Xu Beihong’s “Method of Reforming Chinese painting” on Chinese paintings of later generations were also discussed.
Appears in Collections:	[美術學系所] 碩士論文

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