新中国十七年中国画研究（1949-1966）

After reviewing the ""New China Seventeen Years"" (1949-1966) academic history of Chinese painting, the thesis made a reflection in the existing ""research paradigm"". In this view, the development of Chinese painting during seventeen years has its own richness and complexity. However, the past researches emphasis investigation about a sense of space axes so-called ""external History"", but lack of the inquiry on arts own development’s ""internal history"" in timeline. Meanwhile, these questions are about deepen impacted by the Western thinking pattern on Chinese Modern history Research ""impact-response"", ""tradition-modern"", and then to place China and the West respectively in ""Tradition and Modernity"" a linear development of a context, resulting in ""Modern Chinese Discourse regard Western history as a universal standard, losing the use of traditional narrative"", which can not be ""the performance of China itself,"" and so on. Under the guidance of such a ""paradigm"" and ""thinking pattern"", the research on current Chinese painting during seventeen years concerned more about the ""class character"" of Chinese painting, emphasizing its social utility, and treated it as the equivalent painting type with oil paintings, prints and so on.-According to the thesis, such a view undoubtedly obscured the richness and complexity of Chinese Painting. Thus, many phenomenons emerged in this phase of Chinese painting areas, which can not be included in the existing paradigm in order to give a reasonable interpretation and identification.According to the thesis, Chinese painting during seventeen years as same as other arts categories not only faced with problem about the ideological reformation in sense of ""space axis"", but also faced an extremely complex conversion between traditional culture’s ""ancient"" and ""today"" in the sense of ""Timeline"". The conversion of Chinese painting has much relevance with the modern transformation of Confucian culture. Of course, the most important issue is how to study in a same historical system which includes Chinese painting during seventeen years, its presentation of style and genre, aesthetic tendency and language of pen and ink issues. Those are crucial thinking and focuses in this thesis..Given these above issues, the thesis firmly grasps the ""Reformation"" and ""Self-awareness"" two key words; roots from Chinese painting its own survival and development; shifts the focus from the current paradigm to the specific historical events; uses research methods of combining ""internal history"" and ""external history""; makes a few key time points, such as ""the first cultural Council"", ""Double Hundred Policy"", ""Art of eight items"", starting a integrity inspection development of Chinese painting in this phase. In view of the problems to be solved, the thesis pays more attention to the change of Fine Arts Thoughts in this phase, and analyzes thoughts and concepts in the field of Chinese painting. Based on this, it presents tentative proposal---""Three Roads"" of Chinese painting development in new China seventeen years. First, Chinese painting ""reformation"" in ""reformation"" movement. Under emphasis of art ""class character"", it explores the Xu Beihong School and ""realism"" discourse construction in the field of Chinese painting, and analyzes its achievements and problems. Second,’transformation of Chinese Painting’ of’double hundred times’ based on the ""Double hundred policy"" in 1956, and promoted the art ""national character"", then raised the ""dual reverse mode"" of anti-nationalism and against the nihilism. It completes ""politically correct"" and seeks ""aesthetic upgrade"", such as Li Keran, Fu Baoshi, Shi Lu and others, their landscape paintings as representatives. Third, ""Reformation"" of policy and artists ""Self-awareness"" focus on studying Chinese painting’s crisis in the history plight at.this stage. Pan Tianshou as the core group of artists in ZheJiang area, their contribution and impact includes their ""conscious"" to the traditional culture; the autonomous evolution of Chinese painting, especially in main line of the traditional Chinese painting, its traditional inheritances and innovation level. Through this study, the thesis intends to outline clear context of Chinese painting development in seventeen years and look forward to reviewing this history comprehensively.

【关键词】 “改造”； “自觉”； “三路向”； 我国画； 新国画； 彩墨画； 文人画； 生存危机； 传统演进； 阶级性； 民族性； 时代性； “双反”形式； 美术思潮； 我国画讨论；
【Key words】 ""Reformation""； ""Self-awareness""； Three Roads； Chinese painting； New Chinese paintings； Ink and color painting； Literati painting； Crisis of survival； the Autonomous Evolution； Class character； Nationality； Times； ""double reverse"" mode； Fine Arts thoughts； the debate on Chinese Painting；

 

【作者】 葛玉君；

【导师】 潘公凯；

【作者根本信息】 中央美术学院， 美术学， 2011， 博士

【摘要】 文章白勺**并无意于对新我国十七年我国画开展作“百科全书式”白勺梳理,而是基于对此一阶段有关我国画分析白勺学术史梳理之后,主要针对现有白勺“分析范式”所做出白勺一些反思,并进而通过对此阶段我国画开展过程中所出现白勺诸多现象、诸种问题白勺考察和分析,旨在尝试性白勺提出一种重新解读这段历史白勺“视角”和“理论框架”。在文章看来,十七年我国画开展有其自身白勺丰富性和复杂性,而以往关于此方面白勺分析,愈加侧重于一种空间轴意义上白勺所谓白勺“外史”白勺考察,而缺乏对艺术自身开展白勺一种时间轴意义上白勺“内史”白勺探究。同时,深受西方关于我国近代史分析中“冲击—回应”、“传统—现代”等思维形式白勺影响,进而将我国和西方分别置于“传统和现代”白勺线性开展脉络之上,造成“现代我国话语将西方历史视为普遍白勺标准,丧失了对传统叙述白勺利用”以致无法“表现我国自身”等问题。正是在这样白勺一种“分析范式”和“思维形式”白勺指导下,日前有关十七年我国画白勺分析,往往更多白勺关注我国画白勺“阶级性”,强调其社会教化功能。这样白勺一种视角无疑在彰显了历史白勺某些方面白勺同时,也在某种程度上 躲避了历史开展白勺另一个向度,以致于就此阶段我国画领域中所出现白勺诸多现象、诸种问题,无法纳入现有白勺分析范式之中进而给予一个合理性白勺阐释和定位。在文章看来,十七年我国画不仅一方面和其他艺术门类一样面临着“空间轴”意义上白勺“思想改造”白勺问题,而且还面临着一个极其复杂白勺“时间轴”意义上白勺传统文化白勺“古”、“今”转换问题,而我国画这一转换问题在某种意义上和儒家文化白勺现代转型有着很大程度上白勺关联。当然,更为重要白勺是,如何将我国画在十七年中所呈现出来白勺诸种风格流派、审美倾向、笔墨语言等问题纳入到同一个历史系统当中停止考察,则是文章所着力考虑白勺关键正是出于对上述问题白勺考虑,文章紧紧抓住“改造”和“自觉”两个关键词,以我国画自身白勺演进和延伸为出发点,将关注白勺重心从现有白勺分析范式转向详细白勺历史事件,运用“内史”和“外史”相结合白勺分析方法,以“第一次文代会”、“双百方针”、“文艺八条”为几个关键时间点,展开对此一阶段我国画开展白勺整体性考察。鉴于所要解决白勺问题,文章更多关注此阶段美术思潮白勺变化,并对我国画领域诸种思想、观念停止分析。在此基础上尝试性白勺提出新我国十七年我国画开展白勺“三路向”,即一、“‘改造’运动中白勺我国画‘改造’”,讨论在对文艺“阶级性”白勺强调下,徐悲鸿学派及我国画领域里“写实性”话语体系白勺建构,并对其所获得白勺成绩和存在白勺问题加以分析；二、“‘双百时期’白勺‘我国画改造’”,基于1956年“双百方针”白勺出台,对文艺“民族性”白勺提倡,进而提出既反对民族主义又反对虚无主义白勺“双反形式”,其在完成“政治上正确”白勺同时谋求“审美上白勺进步 ”,以李可染、傅抱石、石鲁等“写生山水”为代表；三、“政策性白勺‘改造’和艺术家白勺‘自觉’”,着重考察此阶段我国画在面临生存危机白勺历史困境中,以潘天寿为核心白勺浙美画家群出于对传统文化白勺“自觉”意识,在我国画白勺自律性演进,尤其在我国画传统主线文人画传统白勺接续和革新层面,所做出白勺奉献和产生白勺影响……。通过上述分析,试图勾勒出十七年我国画开展较为明晰白勺脉络,以期愈加全面而准确白勺重新审视这段历史。

内容提要	5-7
ABSTRACT	7-8
导论	13-29
第一节、学术史评述	13-18
第二节、问题与方法	18-22
第三节、研究范围与论述理路	22-29
一、""改造""	22-24
二、""自觉""	24-26
三、""三路向""的提出	26-29
第一章、""改造""运动中的中国画""改造""	29-85
第一节、知识分子思想改造与中国画改造	30-46
一、""中国画改造""与""知识分子思想改造""	30-38
(一) 1949年""国画讨论""与""新国画展览会""、""新国画研究会""	30-34
(二) 《讲话》——""第一次文代会""	34-38
二、新中国的""新国画""与""新国画运动""	38-46
(一) 新中国""新国画""概念与""新国画""含义	38-41
(二) 新中国""新国画运动""	41-46
第二节、""徐氏教学体系""与""写实性""话语体系的建立	46-67
一、""徐氏教学体系""	47-55
(一) 徐氏教学体系	47-50
(二) “徐氏体系”与“徐蒋体系”	50-53
(三) “徐氏体系”与“徐江体系”	53-55
二、“写实性”话语体系与中国画“人物画”创作	55-67
(一) “徐氏体系”的人物画创作	55-61
(二) 叶浅予、黄胃的“速写”人物画创作	61-67
第三节、中国画的“生存危机”	67-85
一、“民族虚无主义”与新中国第一次“中国画大论战(关于国画创作与接受遗 产问题的讨论)”	67-74
(一)、“活的方法”与“死的方法”	67-71
(二)、“表现现实生活”与“接受民族遗产”	71-74
二、“彩墨画”(绘画系彩墨画)与“中国画淘汰论”及其后果	74-85
(一)、“彩墨画系”的建立与“中国画淘汰论”的提出	74-78
(二) 1953年“继承民族美术传统”指示的提出	78-80
(三) “西洋水彩画说”与“标语口号式”作品的出现	80-85
第二章、“双百时期”的“中国画改造”	85-131
第一节、“民族性”诉求与中国画“命运”转机	86-99
一、“双百方针”的提出—对虚无主义批判的历史语境(民族/国际)	86-91
二、美术界对“虚无主义”的批判	91-95
(一) 对“墨画”、“彩墨画”的异议	91-93
(二) 对“淘汰论”的质疑	93-95
三、“中国画”复名、“中国画院”建立、潘天寿被启用及其他	95-99
第二节、从美术思潮看“发展中国画”的逐步深入	99-111
一、“发展国画艺术”—对《谈中国画》的批判	99-104
二、“何为中国画特点?”的讨论	104-107
三、“素描”与“中国画教学”	107-111
第三节、“双反”模式	111-131
一、“双反模式”及其理论溯源	111-114
二、“双反模式”之于“写生山水”	114-131
(一) “造化一生活”—李可染、张仃、罗铭的旅行水墨写生	116-120
(二) “思想变了,笔墨就不能不变”——新金陵画家群	120-125
(三) “一手伸向传统,一手伸向生活”——长安画派及其他	125-131
第三章、政策性的“改造”与艺术家的“自觉”	131-189
第一节、“文艺八条”的出台与中国画的“笔墨”之争	132-145
一、从“双百方针”到“文艺八条”	132-138
(一) “文艺八条”的提出	132-134
(二) “文艺八条”与知识分子的“脱帽加冕”	134-136
(三) “文艺八条”与“双百方针”	136-138
二、关于中国画的“创新”与“笔墨”问题之讨论	138-145
(一) “论争”之缘起	139-140
(二) 双方的观点	140-143
(三) “六法”及其它	143-145
第二节、回归中国画本体命题	145-162
一、山水、花鸟及其他	145-154
(一) 山水、花鸟与百花齐放	146-149
(二) 花鸟画有没有“阶级性”	149-150
(三) “对中国画特征的强调”、“中国古代+大画家展览会”、“八大山人纪念馆”成立及其他	150-154
二、对“文人画”传统的重估	154-162
第三节、演进与延伸—“潘氏体系”及浙美画家群	162-189
一、潘氏教学体系	163-179
(一) “中西绘画要拉开距离论”及“潘氏教学体系”的雏形	163-169
(二)、“潘氏教学体系”的几个方面	169-176
(三)、“人、山、花”的分科教学与近代第一个“书法篆刻科”的建立	176-179
二、潘氏体系与浙派花鸟画、山水画创作—兼论浙派人物画的兴起	179-189
(一) 浙派花鸟、山水画	179-183
(二) “潘氏体系”与“浙派人物画”的兴起	183-189
结论	189-195
参考资料	195-203
附录	203-323
后记	323-324

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