徐悲鴻藝術理論與實踐之復古元素

The Archaic Elements in Xu Beihong's Art Theory and His Art

宋千儀(Ch'ien-I Sung)

《藝術學報》 79期 (2006/10) Pp. 275-291

https://doi.org/10.6793/JNTCA.200610.0023

摘要

二十世紀初的新文化運動蓬勃進行，「西化」與「反傳統」乃是當時時代風潮，不少知識份子由西方近世文化中尋求文化轉型的資源，希望能藉由拋去傳統、移植西方文化，而達到文化重建的目的。 然而反傳統絕非創新的唯一途徑，「復古」也可以成為創新的手段。從傳統中找尋典範以支持新變，一樣可以改革創新。 在新文化運動潮流中，徐悲鴻發表了國畫改良論，提出改革傳統國畫的具體方法。另一方面，徐悲鴻創作時，常將西畫技法融入傳統國畫中，其繪畫作品有異於前人的嶄新表現。本文試圖檢視徐悲鴻藝術理論與實踐，討論徐悲鴻如何藉復古以革新，並探索徐悲鴻藝術理論與創作的復古元素。

關鍵字

復古 ； 創新 ； 徐悲鴻 ； 國畫改良論 ； 新文化運動

並列摘要

The New Culture Movement in the early 20th century went on vigorously. The cultural trend was ”westernization” and ”confrontation”. Some intellectuals were looking for resources from the contemporary western culture to inject into the transition, hoping to achieve culture renovation by throwing away the tradition and transplanting western culture.
However, such confrontation is not the only way to innovate. Archaism can become a means of innovation too. Looking for the models from the tradition can reform and innovate equally.
In his ”Painting Reform Theory”, Xu Beihong brought forth a concrete method to improve traditional Chinese painting. In addition, Xu Beihong incorporated the western painting skills and Chinese techniques in his works, and the results were fresh new in comparison with traditional works. In this essay I will examine Xu Beihong's art theories and art works, talk about how he innovates by archaism and explore the archaic elements of his theories and works.

並列關鍵字

archaism ； innovation ； Xu Beihong ； Chinese Painting Reform Theory ； New Culture Movement

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