| The sign that indicates Chinese Painting enters its modern stage is that the displacement of the frame of reference, which shifted from foretime/nonce coordinates to west/China coordinates; and that the value crisis under the impact of Western culture. However, not all imported western theories had impact Chinese painting, some of them softly landed and others were even used to consolidate the traditional values. Those virtually came into a central collision with the core of Chinese painting and made its modern transformation "an unprecedented enormous and strange change in several thousand years" are listed as follows due the historical sequence:1, the scientific rationalism and the concept of progress.2, the theory of class analysis of the Marxist aesthetics and the theory about potential political function of art.3, the theory of modernity.Although these western conceptions or thoughts prevailed over Chinese art world are all "translated"ones,They made modern Chinese painting present three phases with different characteristics, and the debates overit followed. Nevertheless, the endogenous development of Chinese painting didn't suspend consequently. An "inner orientation" of Chinese painting could found in the consciousness of the "traditionalism" masters like Huang Binhong and Pan Tianshou. The two aspects of outer and inner constituted the panorama of the modem Chinese painting.the tension between rose and sustained the unsolved 100-year-long debates. My dissertation focus on the debates in the first phase. vThe collision between Western and Chinese cultures and paintings lead both positive and negative effects on Chinese painting, the negative one is that the traumatic self-denial, as to this kind of views, however, the history context must be fully considered. While the positive one is that the creative transformation of tradition, which finds expression in the shift from the pursuit of quality with quantity to the pursuit of high quality with high quantity, and the began of Constructing Disciplinarity. The Convergence of the two aspects makes the modem evolution of Chinese painting show two directions: "Combinationism" and "traditionalism", under which the various collocations and assemblages indicate the complexity of choices. I sum up such complexity in four types of combinationism and two Approaches of endogenous development Therefore, I don't agree with the two alternate bias popular in Chinese art circle: either just regard "Combinationism" part as the modem Chinese painting, or holistically deny the positivity of Western influence so as to encourage "traditionalism". |
