Moderate And Progressive Road - To The Republic Of China Beijing Chinese Painting In The Traditional Painter As The Research Center

The present study about 20^th century Chinese society mainly based on the system of the idea and conception of modernization, the further study on this issue is usually formed by this knowledge and experience, so the result or the judgment rely on the logic of progress. The idea and thoughts of social advancement that come out gradually from so called reform- progress we had experienced in 20^th century is the very reason that has caused these phenomena. However, the present educating and publicizing way basically originate from them, and has influenced our cognitional habit in monopolizing way. This has made us get used to a sort of thinking premise, and hardly to face the historical truth objectively, particularly when the historical phenomena are complicated. The matter of fact is that the actuality of the study object of this dissertation which focus on Beijing traditional Chinese style artists in the first part of Mingguo period has the same problem. Indeed, it is hardly to find a deep research that takes Beijing traditional Chinese style artists as a main issue of Chinese fine art history, instead they can only be found as a small part in some Chinese art history books. In these books, it is very common that how Chinese culture faced foreign culture in 2oth century has been used as the starting point of its argumentation, and impact-- reaction—reform be used as the inner logic, pay attention to the conflict and impact between reformation and conservation of traditional Chinese painting, intend to get the practical value judgment through using their understanding of revolution which regarded these artists as a conservative group, ignoring the inner side motive , the elements and the rule that make the self-progressing of culture itself, even substituting the judgment of culture with the judge of society and politics.First of all. this dissertation bases on the analysis of the developing history of the connotation of the conception that we are familiar, through studying the present simple even paradoxical points to seek the developing progress of our familiar knowledge and experience. With meticulous analysis, the author has found that mainly this phenomenon happened after the foundation of our country, and didn't go with the historical events. He believe that to get to understand this period of history, we need to think about our normal understanding logic, throw some of our familiar knowledge and experience step by step, then to get the relatively objective cognate insight. Then by studying two examples of traditional artists imitating the old masters' paintings, also by analyzing their creating visual images, some inscriptions and also their articles, to approach their finding and getting attitude to the western painting. The author then points out that this attitude is some kind different from the reform way of revolution group, the premise of them is respect of the tradition, and main way for them to get rid off the influence of Si Wang in late Qing is to find the new reform style inside of the traditional art by studying the tradition thoroughly, and then to find the relatively moderate and gradual way of art developing. After that, by using the analysis of how the slogan of reform traditional Chinese painting with western realism has brought influence to art circle around 1917- 1918 as the start point, he has searched the interrelationship between the traditional artists and radical artists, and he found that the radical group often destroy the past by revolution, their activities somehow could awake people and bring them with future hope, but usually could cause destroy and confusion since lack of construction. Meanwhile, the traditional group usually intend to choose the way of improving to find new style and took the respect of past as premise, compare with radical group's way, this is a more stable and constructive. The problem of this group was that they were easy to become conservative iflack of strong radical incentive. So when looking back 20lh century art history, we should make thoroughly compare between these two groups, and avoid to make simple and objectively result. However, the present studies on this issue usually have this problem, the reform of radical group has been emphasized while the improving effort of traditional group has been ignored by them. That's the very reason why the traditional group has been regarded as a conservative school which prevent the improvement of art that has caused us the unilateral familiar knowledge . finally, through deeply historical detail analysis, the author believes that based on the idea that Chinese should has its own tradition and also should absorb some western idea to develop itself, Beijing traditional Chinese style artists in the first part of Mingguo period had the same aesthetics as the Guocui school late Qing and the beginning of Minguo, they emphasis the value of traditional art itself, while using some foreign ideas to reform the traditional art gradually. In fact, this has been the main way of cultural development in the conflict of civilization, it is still can be used as a reference for us when choosing the way of cultural development.