论文部分内容阅读
文化交流中的同化与异化是任何时代都难以避免的。油画自西方传入中国也必然面临着被吸收、改造,并发展成具有中国民族特色的命运。一个多世纪以来,尽管我国的油画创作已经取得了一定的成就,部分画家在油画民族化的创作道路上也作出了可贵而有益的尝试,但具有中国民族特色的油画创作与教学体系的建立至今仍然没能完成.此外,尽管我们并不完全赞同“艺术越具有民族特色便越具有世界性”这一观点,但以浓厚的民族特点而饮誉世界的艺术现象在人类历史上还是不乏先例的,因此,重提油画的民族化仍有其现实意义. 西画东渐之历史扫描西方美术很早就流传到了中国。唐太宗贞观九年(653年)大秦国(古罗马)基督教徒阿罗本便携带经像来到中国长安,是为基督教及其宗教美术传人中国的最早记录。宋、元两朝,西方美术的输入自然有增无减.明代万历年间,天主教士
Assimilation and alienation in cultural exchange can hardly be avoided in any age. The introduction of oil painting from the West into China is also bound to be absorbed, rebuilt and developed into a destiny with Chinese national characteristics. For more than a century, although some achievements have been made in China’s oil painting creation, some painters have also made valuable and useful attempts in the nationalization of oil painting. However, the creation and teaching system of oil painting with Chinese characteristics has been established so far In addition, though we do not fully agree with the idea that “the more artistic the more ethnic the world is, the more global it is.” However, there is no precedent in the history of mankind for the art phenomenon that enjoys a strong national identity and enjoys world reputation. Therefore, to re-mention the nationalization of oil painting is still of realistic significance.Western painting east of the history of scanning Western art has long spread to China. Taizong Zhenguan nine years (653 years) Great Qin (ancient Rome) Christians Arroyo portrayed by the portrait came to Chang’an, China, is the earliest record of Christianity and its religious art successor to China. In the Song and Yuan dynasties, the input of western art naturally increased.When the Ming Dynasty Wanli years, the Catholic priest