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Republic of China

 

 
Chronology of China

 

IX. From the Republican Era to Today

 

The problem of the direction of Chinese painting has permeated the entire 20th century. Stylistically, modern Chinese painting can be divided into two schools - the traditional school and the mixed school. The traditional school emphasizes the inheritance and development of the Chinese painting tradition in its entirety. It focuses on continuing the pursuit of traditional Chinese painting, and consciously maintains a distance from western artistic forms. Under the influence of the Shanghai school, from the early to mid 20th century Qi Baishi, Pan Tianshou, and Zhang Daqian can be taken as representative of the most acclaimed Chinese painters; Huang Binhong and Li Keran were masters of landscape painting. Qi Baishi was a master directly influenced by Wu Changshuo; but he shifted his painting style in his fifties. This painter who began as an artisan worked on the subject of quotidian birds and flowers throughout his career. He used his own painting style - “drawing ten thousand insects and expressing the spirit of myriad birds” - to summarize his practice. Because his works were popular among the public, he gathered an audience unprecedented in the field of Chinese painting. Qi Baishi also became the most recognized artist in Chinese history. Huang Binhong and Qi Baishi were often referred to as “Southern Huang and Northern Qi”. Qi was influenced by the spirit of the One Hundred Days reform, and realized the principle of “survival for those who are willing to reform” in his art. While following the tradition from their masters, they have also made their own accomplishments. Their paintings have demonstrated the possible renaissance of literati painting and the entire Chinese painting tradition through the exchange between sentiments and ideas as well as, reforms in its artistic language.

Opposed to this is another school consisting of “returned” artists from overseas studies - from the end of the Qing dynasty to the Republican era, there was a group of artists who studied abroad for their professional training in oil painting. These included Xu Beihong, Lin Fengmian, etc. They returned to China with training in Western composition, and hoped to reform Chinese painting by appropriating the strengths of western art. They felt they could advance and rescue Chinese painting that had been imitating tradition and lacking creativity since the end of the Qing. On the issue of reforming Chinese painting, their thinking and experimentation have had a great impact on the development of Chinese painting throughout the twentieth century. Xu Beihong’s earlier years were spent studying in art academies in Paris. Once he returned, he became an art professor at the Central University; in 1949, he was appointed as the first principal of the Central Academy of Fine Art. Xu Beihong’s stance on realist painting provided the direction of art education in the 1950’s for all art academies. “Sketching and drawing from life” became the foundation for education in and creation of Chinese painting. This has had a direct influence on the creative practice of Chinese painting even today. Looking at his works, Xu Beihong’s views of art were related to his own concern for observing reality, bemoaning the state, and pitying the fate of mankind and nation. Lin Fengmian’s personality, on the other hand, is somewhat tender - it is very rare to discover a distinct creative intent in his works, rather he took the desired impression and creative interest as his primary factors. At the same time, in rendering his subjects and executing color effects, Lin had clearly absorbed techniques from western oil painting. In his writing of The Future of Eastern and Western Art, Lin Fengmian pointed out, “In Western art practices, the construction of form leans toward the subjective. This leads to formal inadequacy and a lack of emotional expression … whereas in art of the East, the metaphysical tends to be subjective, and due to the inadequacy of form there is often a lack of expressing what needs to be conveyed emotionally. Art is degraded to a leisure activity meant to exhaust time.”

The constant reform in Western contemporary art has brought about a revolution of stylistic language at the formal level, however in the wave of formal revolution, there has also been change in ideology and spirit, in attitudes towards life and values. In the latter half of the twentieth century, most artists were “confused” and in the exploratory stage in regards to the future of Chinese painting. For instance, artists like Qi Baishi, Huang Binhong, Li Keran peaked creatively around the 1950’s and 1960’s, the “seventeen years” between the establishment of the People’s Republic of China and the eruption of the “Cultural Revolution”. This was one of the most active periods for the art world since the founding of the People’s Republic.

However, in the chronology of the progress of Chinese painting since the founding of the PRC, the so-called “leftist” and “rightist” extreme art waves hindered and distorted the evolution of Chinese painting, moreover, the ‘movements’ that erupted during the Great Proletarian Cultural Revolution at all levels of Chinese society affected many artists’ creative practice. At the end of the Qing dynasty, the Shanghai school gained its success through the market, whereas from the mid-50’s to the 1980’s, Chinese painting primarily served as a tool for political purposes. During this period, many artists of Chinese painting shifted their focus to landscape painting that did not easily spark conflict or debate, whether intentionally to escape or simply part of their instinctive pursuit of art. In the fifties and sixties, schools representing the new landscape emerged in large numbers, for instance, the Jiangsu school represented by Fu Baoshi and Qian Songyan, the Chang’an school represented by five artists including Shi Lu, Zhao Wangyun, and He Haixia, and the rebirth of the Lingnan school represented by its second generation artists like Li Xiongcai, and Guan Shanyue, etc.

After the founding of the People’s Republic of China, the development of Chinese art history was mostly studied according to historical period. In July 1949, the first conference of cultural representatives was held in Beijing. During the conference, the National Association of Art Workers was founded. Premier Zhou Enlai proposed the editing of former art and literature according to Mao Zedong’s thoughts on art and literature. In the inaugural issue of People’s Art in 1950, a series of essays were published to promote “The Movement of New Chinese Painting - The Movement to Reform Chinese Painting”. In the early 1950’s, fierce discussion revolved around how to “promote the old and invent the new” in Chinese painting. This caused a clamor of national nihilism, and changed the name of Chinese painting to “ color and ink painting”. In the early stages of the founding of the republic, the fate of “reformed” Chinese painting influenced people’s understanding of the national art tradition. Confronted with the tumult of history, the future of Chinese painting in the new era became a chronic disease infecting the art world.

1978 was an important year in Chinese history. On May 11, the Guangming Daily issued a special editorial entitled “Experimentation is the Only Standard to Test the Truth”. At the CCP’s Third Plenary session at the 11th Conference of the Central Committee held in December 1979, the working focus toward the building of modernization was reestablished, marking the end of the extreme “leftist” political line that had characterized the Cultural Revolution. This was the beginning of the emancipation of Chinese society. From the late 1980’s, Chinese ink painting began to ride the wave of reform, its initial motivation came from the influence of artists from the classical tradition who were living in a rapidly changing Chinese society, and whose feelings and actual environment differed from masters of the past. At a more profound level, it was due to the present being out of sync with tradition - Chinese painting needed to expand with diversity from within to respond to the impact of the dominant western culture. In 1992, the artist Wu Guanzhong published a short piece entitled “Brush and Ink are Zero” in the Mingbo Weekly in Hong Kong, sparking the most intense discussion on the value of Chinese ink painting in recent years and stirring up waves in the art world. This was an essay written after Wu’s discussion with professor Wan Qingli from the Art Department of Hong Kong University on the topic of brush and ink. Wang Qingli responded to this essay with “No Brush and No Ink Equates to Zero”, following which, many artists and critics such as Guan Shanyue, Wang Bomin, Lang Shaojun, Liu Xiaochun, and Qu Mo became involved in the discussion. Such a debate on the already quite rigid issue of brush and ink in Chinese painting did not yield any effective impulses, but evoked more thinking about how Chinese painting can overcome its formulaic setbacks.

 

民国至今

中国画的前途问题几乎贯穿了整个20世纪始终。近代中国画从风格上来看,有传统和融合两个派别,传统型强调完全在中国绘画传统内部寻求继承和发展,其中主要着眼点在于对传统中国绘画追求的延续,刻意与西方传来的艺术方式保持距离。在海派的影响下,于20世纪早期至中叶产生了齐白石、潘天寿、张大千等可以堪称大师的中国画家,山水画方面则出现了黄宾虹、李可染等代表人物。齐白石是直接受到吴昌硕影响而别有成就的一位大师,他于50多岁转变画风,这位工匠出身的画家一生以富有生活情趣的花鸟虫鱼为题材,以自己摸索出来的一套为“万虫写照,百鸟传神”的绘画技巧,因为他的作品与市民潮流相一致,使中国画拥有了前无古人的欣赏人群,齐白石也成为中国历史上最为坊间熟悉的画家。黄宾虹与齐白石并成为“南黄北齐”,他受到了近代维新变法革新精神的感召,意识到在艺术上“变者生”的规律,在师造化的同时,集传统之绘画大成,他们的绘画证实了文人画和整个传统中国画完全可以在情思转化和语言革新中获得现代新生。

与此相对的一派,则大多是有留学经历的“海归派”艺术家,清末至民国期间,中国画坛上还出现一群留学海外,受过专业油画训练的画家,如徐悲鸿、林风眠等,他们在接受西方造型艺术训练以后回到中国,希望通过借鉴西方艺术的长处来改造中国画,进而挽救清末期以来中国画因袭摹仿、无所创新的颓败形势。在中国画的变革问题上,他们的思想和实践对整个20世纪中国画的发展产生了影响。徐悲鸿早年留学法国巴黎高等美术学校,回国后任当时中央大学艺术系教授,1949年被任命为中央美术学院第一任院长,徐悲鸿在美术上坚持的现实主义的绘画道路,成为50年代的美术学院中国画教育的方向,“素描写生”成为中国画教育和创作的基础,对今天的中国画创作产生了直接的影响。从他的画作看来,徐悲鸿的艺术观与他关注现实、悲天悯人、关注国家、民族命运的个人气质有关。林风眠的性格更为温和,他的作品中极少有意流露出鲜明的创作意图,而将意境、情趣等作为创作考虑的首要因素,同时在形象的描绘和色彩效果的处理上,吸收了西方油画的技巧。在《东西艺术之前途》一文中,林风眠曾指出:“西方艺术,形式上之构成,倾向于主观的一面,常常因为形式过于不发达,而缺少情绪之表现……东方艺术,形式上之构成,倾向于主观的一面,常常因为形式过于不发达,反而不能表达情绪上之所需求,把艺术陷于无聊时消遣的戏笔。”

西方现代艺术的不断革命,在形式层面上是风格语言的革命,但在形式革命的潮流下,还隐含着意识与精神的变化、生活态度和人生价值的变化。20世纪下半叶,对于中国画的未来发展,艺术家们仍处于“迷茫”的探索期,诸如齐白石、黄宾虹、李可染等艺术家的创作旺盛期多集中于50、60年代期间,新中国成立至“文革”爆发之前的阶段被称为“十七年”,是新中国成立以来文艺界最为活跃的时期之一。

而在新中国成立以后的中国画发展时间表里,所谓的“左倾”与“右”倾的极端艺术思潮曾对中国画的演进产生了阻滞和扭曲,并且随后中国社会从上到下爆发的“文化大革命”,使许多艺术家的创作活动受到“运动”的影响,相较于清末海派画作与市场的有机衔接,20世纪50至80年代的多数时期,中国画艺术更多成为为政治服务的工具。在此期间,许多中国画家将创作转向不易激发矛盾点和话题的山水画方向,无论是种逃避的选择还是对艺术本能的追求,五六十年代产生了一些表现山河新貌的地域流派,如傅抱石、钱松岩为代表的江苏画派,石鲁、赵望云、何海霞等五位画家为代表的长安画派等,同时岭南画派也诞生了以黎雄才、关山月为代表的第二代艺术家。

新中国成立以后的中国美术史的发展,更多被作为割断的历史来研究,1949年7月在北京召开了第一次文代会,成立中华全国美术工作者协会。周恩来按照毛泽东文艺思想提出了旧文艺的改造问题。1950年创刊的《人民美术》发表了一组文章,催发了“新国画运动——亦即国画改造运动”。在50年代初,围绕着中国画如何“推陈出新”展开了激烈的论争,一时间,民族虚无主义甚嚣尘上,并将国画改称“彩墨画”。中国画在建国初期被“改造”的命运,影响了人们对于民族美术传统的正确认识。面对历史上一座座高峰,新的时代中国画该何去何从成为整个绘画界的痼疾。

1978年,是中国历史上重要的一年。5月11日,《光明日报》发表特约评论文章《实践是检验真理的唯一标准》,1979年12月召开的中国共产党第十一届三中全会又确立了工作重点向现代化建设的转移,意味着中国“文化大革命”时期极“左”政治路线的终结和整个中国社会解放的开始。从20世纪80年代后期开始,中国水墨画开始了现代变革的潮流,最初的诱因在于饱受古典传统影响的水墨画家面对迅速变化的中国社会,他们的内心感情和现实境遇都已不同于古典大师,而更深层次的原因仍在于传统久远已与现代不谐,中国画自身需要更多样性的拓展来回应西方强势文化的冲击。1992年,艺术家吴冠中发表于香港《明报周刊》的一篇短文《笔墨等于零》,引发了近代以来有关中国画笔墨价值最激烈的论争,在整个艺术界掀起了轩然大波。此文是吴冠中和香港大学艺术系教授万青力就笔墨问题争论后所写,万青力也于随后发表了针锋相对的文章《无笔无墨等于零》,随后又有关山月、王伯敏、郎绍君、刘骁纯、翟墨等众多画家、理论家卷入论争。这样的论争对于已经僵化的中国画笔墨问题,无异于一剂有效的刺激,对于中国画如何克服程式的束缚,也引发了更多的思考。

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