1、 林风眠论文：林风眠“中西调和”理论及其艺术实践【中文摘要】林风眠是我国 20 世纪伟大的画家和艺术教育家,也是客家文化名人的杰出代表。他是中国现代美术教育的主要奠基人,曾执掌国立北京艺专(今中央美术学院前身)、杭州艺专(今中国美院前身)达 13 年；是中国现代绘画的先驱者；是中国现代艺术“中西调和”理论的主要倡导者和重要实践者。他早年在“五四,新文化运动的影响下,留学欧洲,学习西方绘画,归国后毕生从事艺术教育与艺术创作事业,为中国现代艺术教育作出了巨大贡献。他大力贯彻蔡元培“以美育代宗教”的思想,提倡“思想自由、兼容并蓄”的办学方针,不拘一格,广纳人才,组成了多画种、多风格、高水准的师资队伍
2、。在美术教育实践中,他特别重视发挥学生的个性,培养学生的社会责任感和人格操守,建立了套在当时最为完整、规范的美术教育体系,成为中国 20 世纪现代美术教育的主要奠基者。他在漫长的艺术生涯中,一直坚持不懈地进行艺术探索.深入地研究了中西艺术的起源与本质,认清了中西艺术的异同,为融合中西的艺术实践奠定了必要的理论基础。他融合中西艺术之长,独立地创造出一种富有时代气息和民族特色,而又具有高度个性化的抒情绘画风格,为中国现代绘画开辟了一条将中国的传统精神和西方现代观念、形式相融合的探索道路。在 20 世纪初的东方文化和西方文化的争论中,主张中西调和,融通中西来发展中国文化的观点是代表性的观点之一。“中
3、西调和”论在不同的领域有着不同的表达方式,林风眠的“中西调和”理论是中国现代思想文化中的“中西调和”论在艺术领域的一种折射。林风眠提出“中西调和”的理论,是通过吸收东西方文化的精髓和人类文明的优秀成果从而使中国艺术能够走出历史的困境,顺应时代发展的潮流,最终实现中国艺术向现代转型。他选择的方法是以西方艺术作为参照系,但又立足于中国的传统,从而促进民族艺术的发展。他在深入钻研、分析和比较古今中外艺术的演变和发展历史之后,提出了“中西调和”理论,从情感与理智的平衡、东西方艺术的融会、艺术时空的转换,到“个性、民族性、时代性”等美学命题的提出,构成了一个完整的“中西调和”理论的框架,开创了中国现代艺
4、术理论与实践相结合的体系。林风眠的“中西调和”绘画不是简单的技法上的嫁接,而是在中西艺术相互“调和”的基础上,重塑民族文化的精神。他通过西方来发现东方,通过西方的人文精神来抒发他的人道主义精神。他在西方现代艺术中找到了具有东方人文精神的图式,他把这种图式与中国传统的民间艺术进行调和,创造出富有现代气息的绘画作品。在 21 世纪经济全球化、文化一体化以及民族主义浪潮的冲击下,林风眠的“中西调和”理论及其艺术实践不是以西化思想来消解传统,也不是以“民族主义”来抵御“西方中心主义”,而是超越中西对立,超越传统和现代的对立,建立顺应时代发展趋势的现代性的中国绘画,真正体现出绘画的“民族性” 、 “时代
5、性”和“个性” 。所以说,林风眠的“中西调和”理论及其艺术实践找到了一条中国艺术走向现代的道路,使民族的固有传统在新的历史条件下能够重新焕发出新的生机。林风眠的绘画作品拓宽中国绘画的表现范围和表现能力,融合了中西方的审美情趣,使中国画的语言带有世界性,在现代多种途径改革中国画的开拓中取得了很大的突破。中华民族五千年来文化传承不断,以自己独特的品格屹立于东方。企图超越民族传统文化的发展去寻求自身的发展是不可能的,到头来也只能是自取灭亡。在 21 世纪经济全球化的背景下,林风眠的“中西调和”理论及其艺术实践像一面镜子,给了我们参照的起点,引领着我们朝着光明的大道走去。【英文摘要】Lin Feng
6、Mian, an outstanding representative of Meizhou culture, is a great painter and art educator. He, who headed the Beijing Fine Arts College and Hangzhou Academy of Fine Arts for 13 years, is the founder of Chinese modern art education and the pioneer of Chinese modern painting. He advocates harmonizin
7、g Chinese art with Western art, and puts it into practice. In his early years, he went to Europe to study Western Fine Arts culture, theory and painting techniques under the influence of May Forth New Cultural Movement. After returning to China, he dedicated himself to creating new painting theories
8、 and techniques in his art works, and revolutionizing art education in China. His contribution to Chinese Fine Arts education is nation-wide recognized. He vigorously implements Cal Yuan Peis ideology and is determined to promote art revolution. In education, he made a major breakthrough in school p
9、olicy, which promoted freedom of thought and agreeing to differ. His appreciation of diversity and talent resulted in the formation of brilliant and high standard teaching team consisting of teachers with different painting styles, ideologies, theories and methodologies. In art education practice, h
10、e paid attention to excavating students individuality and cultivating their integrity and social responsibility. His contribution to completing and standardizing the art education system made him the main founder of Chinese modern art education of the 20th century. He has been consistently explored
11、in art, studied in-depthly the origin and nature of Chinese and Western Fine Arts throughout his career. His profound knowledge of the similarity and difference between Chinese art and Western art has laid the necessary theoretical foundation for the fusion of Chinese and Western artistic practice.
12、Independently, he created a lyrical painting style which represented the richness of the times and national characteristics with uniqueness and high personalized touch. By integrating Western art form into Chinese art form, he opened a new chapter for modern Chinese painting, and paved the way for e
13、xploration and integration in different art forms, theories, ideologies and methodologies.In the early 1900s, the idea of Chinese-Western Harmony was one of the viewpoints which suggested enriching modern Chinese culture through integration and harmonizing during the heated debate on whether the Eas
14、tern culture and Western culture should interact with each other or not. There is no doubt that Chinese-Western Harmony theory can be interpreted differently in different fields. Professor Lins interpretation shows how Chinese-Western Harmony theory works in the field of Chinese Fine Arts. The purpo
15、se of Professor Lins art theory is to make good use of Eastern and Western cultural essence and the marvelous achievements of human civilization and to let Chinese Fine Arts get rid of the restriction of history. His goal is to help Chinese Fine arts jump out of the box and to catch up with the tren
16、d of the times. Ultimately, he looks for successful transformation of Chinese Fine Arts. He found the balance among taking the reference of Western art, preserving Chinese painting traditions and promoting the development of national art. He brought forward Chinese-Western Harmony art theory after h
17、is thorough study, analysis and comparison of evolution and development of ancient and modern art history. His aesthetic propositions include Emotional and Intellectual Balance, The Fusion of Eastern and western Art, Art Space Conversion, Personality, National Characters and the Times, and so forth.
18、 Those propositions constitute a complete Chinese-Western Harmony art theoretical framework, and create a practical modern Chinese art theory.Professor Lins art theory is not a simple adaption of Western painting techniques, but a remodeling the spirit of national culture based on reconciling Chines
19、e art with Western art. He rediscovered the East through his art journey to the West. The ideology of Western humanism and modern art helps him to express his humanitarian spirit in his works and come up with Eastern humanism schema which is workable in Eastern culture. Creatively, he reshaped the t
20、raditional Chinese folk art with Eastern humanism schema and therefore he created paintings that were full of modern flavor.21st century is the era of economic globalization, cultural integration and nationalism. When East meets West, the interaction between the East and the West in different fields
21、 of society cant be avoided. We cant deny that the good and the bad go hand in hand. With good judgment and vision, Professor Lins art theory is not to let Western ideology take over tradition, or to let nationalism fight against Western centrism. His theory surpasses any kind of oppositions cultura
22、lly, traditionally or ideologically. He follows the modern trend of 21st century, and truly establishes modern Chinese painting theory that reflects the call of the times, nationalism and personality. As a Whole, Professor Lins art theory and practice light up a new tunnel for modern Chinese art and
23、 revitalize nations tradition. Professor Lins Chinese paintings broaden the scope of cultural, traditional, emotional, ideological and imaginational expressions with the touch of Chinese and Western aesthetic integration. He introduced internationalism into Chinese painting and made a great breakthr
24、ough in reform and modern development of Chinese painting.The richness and uniqueness of five-thousand-year Chinese cultural heritage will always shine like a star in Eastern sky. Any attempts that aim at transcending the development of traditional culture in order to seek their own development will
25、 end in vain. The key theme of the 21st century is globalization. Professor Lin appeals to the call of the times. For someone who is interested in doing research in this field, Professor Lins theory and practice are the good source of reference. Professor Lins Chinese-Western Harmony art theory and
26、practice will lead Chinese Fine Arts and art education towards a brighter future.【关键词】林风眠 西学东渐 中西调和 中国画 民族性 时代性【英文关键词】Lin Feng Mian Western Influence Chinese-Western Harmony Chinese Painting National Character the Times【目录】林风眠“中西调和”理论及其艺术实践 中文摘要 3-5 Abstract 5-7 引言 9-19 (一) 缘起 9-10 (二) 国内外研究现状 10-17
27、 (三) 研究的重点难点以及创新点 17-18 (四) 研究的主要方法 18 (五) 研究的目的和意义 18-19 一、林风眠”中西调和”理论产生的背景 19-27 (一) “西学东渐” 19-22 (二) 新文化运动与美术变革思潮 22-24 (三) 岭南画派的革新 24-27 二、林风眠”中西调和”理论的形成轨迹 27-36 (一) “中西调和”理论的形成 27-30 (二) “中西调和”理论的发展 30-36 三、林风眠”中西调和”论的艺术实践 36-45 (一) 留学时期的艺术实践(19201925) 36-37 (二) 兴办教育时期的艺术实践(19261938) 37-40 (三) 寂寞探索时期的艺术实践(19391977) 40-42 (四) 香港时期的艺术实践(19781991) 42-45 四、林风眠”中西调和”理论对当代中国画发展的启示 45-51 (一) 对”中西调和”理论的思考 45-46 (二) “中西调和”理论的当代价值及现实意义 46-51 结语 51-52 注释 52-53 参考文献 53-55 攻读硕士期间发表的与学位论文有关的论文目录 55-56 攻读硕士期间的获奖情况 56-57 致谢 57-58
