摘要
面对晚清文人画,康有为感言“中国近世之画衰败极矣”。然而若对清末民初的大众美术现象加以考察,便会发现另外一番局面。民间年画与城市画报一方面延续着传统文化的内蕴,另一方面又借着社会新的文化因素的增长而创造出新的内容和形式。其对社会生活触及之深、之广,以及表现之直接,在当时的画坛,难有其他绘画门类与之相比。在“五四”时期深刻的文化转型来到之前,西方绘画的造型方法和观念已经通过民间年画和城市画报这样的大众媒介,得以在民众中“调适”。
When observing the literati paintings in the late Qing dynasty, Kang You-wei sighed that Chinese painting in the modern time was declining. Yet, a different case can be discovered when we investigate the popular fine arts of this transitional period. The ideological connotation of traditional culture continued their influence in the folk paintings of Spring Festival and urban posters, and meanwhile, new forms and contents were created with the increase of new cultural elements in the society. And their impact on social life was incomparable in depth, width and immediacy. Before the cultural transition brought about by May the Fourth Movement, the Western ideas and modes of painting had already been accommodated in China through the folk fine arts and urban posters.
出处
《文艺研究》
CSSCI
北大核心
2006年第1期121-129,共9页
Literature & Art Studies
