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自五四新文化运动始,中国美术界不断有先驱者到海外探寻艺术上的新知,他们带着梦想远游,并在归国后改写了中国美术的流向,对于20初期的中国美术先驱们来说,留学海外是一种不得已的选择,因为“洋”代表着先进和进步。归国于他们而言更带有一份沉甸甸的责任。这些为数不多的艺术海归们,在历史的洪流中推波助澜,奠定了中国近现代美术教育发展的基本格局。从他们开始,“中西融合”就成为一个不断被提及的问题。这个历程伴随着我们对于中国化、民族性这些概念的反思、讨论和厘定。在今天“艺术海龟”作为艺术家中的一个有着特殊经历的群体,是数量有限,但却不容忽视的力量。留学、旅居海外或者回国,每个时代总有不同的人重复着这种经历。本期艺术视点我们瞄准“艺术海归”这个群体。他们去过哪里?在外面的世界看到了什么?他们所实践的,将对未来中国艺术产生怎样的影响?不管是海归还是本土艺术家,最终还是要面对创作这个根本问题。带着问题出走的他们是否找到了解决之道?见多识广的“海龟”总是被寄予很多期待。
Beginning with the May Fourth New Culture Movement, Chinese art practitioners continued to seek new knowledge of the arts overseas. They traveled with their dreams and rewrote the flow of Chinese art after returning home. As early as the early 20s, Chinese art pioneers For example, studying abroad is a last resort because “foreign” represents advanced and progressive. Returning to their country is more a heavy responsibility. These few returnees of art, which fueled the torrent of history, laid the basic pattern of the development of Chinese modern art education. From them, “the fusion of Chinese and Western cultures” has become a constant issue to be mentioned. This process is accompanied by our reflection, discussion and determination on the concepts of Chineseness and nationality. Today, “Art Turtles” as a group of artists with special experiences is a limited but not negligible force. Studying abroad, living overseas or returning home, there are always different people in every age repeating this experience. This issue of artistic point of view we aim at “art returnees” this group. Where did they go? What did they see in the outside world? What impact did they practice on the future of Chinese art? Ultimately, returnees and local artists eventually faced the fundamental problem of creation. Did they find the solution to the problem? The well-informed “turtle” is always placed with much anticipation.