湖社画会与中国传统绘画的演讲艺术学理论专业论文.docxVIP

摘要清末民初时期，传统画家沿袭“四王”遗风，致使绘画模式僵化。中国传 摘要 清末民初时期，传统画家沿袭“四王”遗风，致使绘画模式僵化。中国传 统画坛失去活力，呈现一片衰寂景象。“新文化运动”时期，知识分子开始主动 全面的学--3西方文化，社会各个领域掀起了一场声势浩大的改革浪潮。文学界 所兴起的文学革命思潮，也波及到了美术领域。 “美术革命”时期，康有为、徐悲鸿，陈独秀、吕潋等人对中国传统绘画的 改革展开了讨论，并提出了各自的改革主张。而北京画坛的精神领袖陈师曾、金 城等人则主张“精研古法、博采新知”，在维护传统绘画的基础上，发展传统绘 画。 湖社继承金城“精研古法，博采新知”的艺术思想，担负起发展中国传统绘 画艺术的时代重任。其代表成员陈少梅提出“先临古学古，仿古而后创新”，致 力于融合南北二宗。而同样力主在中国传统绘画内部探索革新的秦仲文，则以笔 墨为宗，取得了花鸟画领域新的突破。陈缘督与马晋是中西结合艺术创作的代表 人物。陈缘督笔下的“仕女”开始向“圣母”转变，展开了基督教艺术的中国本 土化探索。而马晋则师法郎世宁，推进了写实技法的实践。胡佩衡选择“用古法 写生，由写生而创作”的艺术道路，主张在中国传统绘画的主体之上，汲取西画 优良技法进行创作，致力于中国青绿山水的创格实验。 湖社成员继承金城艺术理念，从不同艺术思想维度出发，以实际行动体现着 湖社“应时事之要求，谋美术之提倡”的艺术宗旨，对中国传统绘画在现代的转 型做出了自己最大的努力。 关键词：美术革命；金城；湖社画会；陈少梅；秦仲文；陈缘督；马晋；胡佩衡； 演进 II 万方数据 AbstractDuring Abstract During the period of Qing Dynasty and the early Republic of China，the Chinese traditional artists almostly followed the SiWang’S style，that resulted in conservatively traditional Chinese painting lost its vital ity and showed decline of scene．By the“New Culture Movement”，Chinese intellectuals began to study Westem culture actively,setting off a massive wave of reform．The rise of the literary revolutionary thought，not only worked at the field of literature，but also spread to the fine arts At the period of“Art Revolution”，Kang Youwei，Xu Beihong，Chen Duxiu and Lv Cheng started to discuss and voice their own reform ideas about the traditional Chinese painting．Chen Shizeng and Jin Cheng were the spiritual leaders of Beijing art circles，they advocated‘‘Intensively Studying the Traditional and rudely Absorbing the New”，based the maintenance of traditional painting，to develop the traditional painting． Hu She inherited the artistic thought by Jin Cheng，“Intensively Studying the Traditional and聊如砂Absorbing the New”，and played the main role in developing traditional Chinese painting．One of the main members Chen Shaomei said“First。 Copying the ancients and Learning the ancients,after the copying is innovation”，aim to the north-south together．And Qin Zhongwen devoted his energies to the