摘要
清代道、咸时期的书法、篆刻成就虽对花鸟画影响较大,但黄宾虹所倡的山水画因“金石学发明”而中兴之说,则可思而不可泥。有论者支持“道咸中兴”说,并提出了三个理论要点,其中对黄氏的民学观,道咸经世实学,公羊学与画学中兴的见解,均有可商之处。黄宾虹之所以坚持此论,当出于四个原因:是对“五四”否定文人画的思潮而发,且具有总结此后“美术革命”经验教训的意义;源于“国粹”意识,是对绘画民族性的体认;是黄氏植根绘画史实,糅合多种地方文化的观念之体现;寄寓了借古开今、立足创造的意愿。不是道、咸金石学家,而只是黄宾虹,才真正超迈古人,实现了山水画的中兴。
Although the achievements of calligraphy and seal cutting at the age of Dao Guang and Xian Feng during the Qing Dynasty give a great influence on flower-and-bird paintings, Huang Bin-hong＇ s theory of the resurgence in Chinese landscape paintings because of the ＂invention of epigraphy＂ is doubtful. The supporters give three theoretical points, some arguments of which, such as the views on Huang＇s People＇s Studies, Dao＇s and Xian＇s Practice of Administrate the Country, Gongyang Studies and the Resurgence in Drawing Studies, all have room for further consideration. There are four reasons for Huang＇s insisting on his theory： dissatisfaction with the negation of scholars＂ paintings during the May 4th Movement so as to give a summary of the experience of the ＂painting revolution＂; acknowledgement of painting nationality due to the awareness of the best of Chinese culture; embody of his root in the practice of historical paintings and his mixture into several local-cultures; lodge in using the past to develop the present. It is Huang Bin-hong but epigraphists at the age of Dao and Xian who suroasses really the ancient oainters and realizes the resurgence of Chinese landscape paintings.
出处
《上海大学学报（社会科学版）》
CSSCI
北大核心
2006年第4期106-112,共7页
Journal of Shanghai University(Social Sciences Edition)
关键词
道成中兴
花鸟画
山水画
三要点
四原因
flower-and-bird painting
Chinese landscape painting
three Points
four reasons
作者简介
邓乔彬（1943-），男，广东珠海人，暨南大学特聘教授，中国古代文学博士生导师。
