| For a hundred years,in the context of comparing Chinese and western cultures,there has always been a tendency to westernize in the historical process of Chinese painting.For the Chinese painting department of the China Academy of Fine Arts,the biggest dispute over the situation that Chinese painting should take in the face of the impact of the western art wave took place in 1987,in the form of a three-day teaching reform seminar held in the department at that time.This article takes this teaching reform seminar as the starting point for research,and through the analysis and comparison of research methods,discusses in detail the two viewpoints held by the participating teachers: one is that traditional Chinese painting should actively seek changes,take retreat as its goal,and integrate western art;One is that traditional Chinese painting should hide its brightness,cultivate its tradition and stick to its own context.Furthermore,the author expounds what the Chinese painting department of the China Academy of Fine Arts thinks is its proper self-positioning in China.In expounding this problem,the author first points out that the current problem of Chinese painting lies in the lack of traditional culture from the large environmental scope of Chinese painting,and reconfirms that Chinese painting is not the end of the road under the background of globalization,but is always unique in world art.The Chinese painting department of the Chinese Academy of Fine Arts is characterized by a complete traditional Chinese painting teaching system constructed by Mr.Pan Tianshou and others in the tide of the spread of western learning to the east.This teaching system,which inherits the traditional historical context,is in conflict with the educational idea of integrating Chinese and western cultures to improve Chinese painting held by other professional colleges in China.On the contrary,the results of the integration of Chinese and western cultures,such as Xu Beihong and Lin Fengmian,are household names in China but have no recognition abroad.Therefore,the author believes that the Chinese painting department of the Chinese Academy of Fine Arts should continue to inherit its traditional context characteristics and the education of Chinese painting and Chinese painting should adhere to the development direction of its own national tradition.In order to fully show the teaching characteristics of the Chinese painting department of the Chinese Academy of Fine Arts,the author collected and sorted out a lot of materials from the archives of the Chinese Academy of Fine Arts,including the teaching syllabus of the Chinese Academy of Fine Arts over the years,the handwriting and drawings of the teachers left behind by the predecessors of the Academy,etc.Then through the method of text analysis,combined with his ten years of learning experience in the flower-and-bird specialty of the Chinese painting department of the Chinese Academy of Fine Arts,the author systematically and comprehensively combed and summarized the teaching characteristics of the Chinese painting department of the Chinese Academy of Fine Arts,which was inherited from Mr.Pan Tianshou and other scholars' paintings and supplemented by the current teachers according to their own teaching experience.This is the first time that this system has been collected,collated,analyzed and summarized.In the last part of this article,the author puts forward three specific strategies for undergraduate teaching of flower-and-bird specialty based on his own learning experience,hoping to make the undergraduate basic teaching of flower-and-bird specialty more perfect and sincerely hope that flower-and-bird painting,an art form bearing profound national tradition and aesthetic accumulation,can flourish in the future and write a brand-new Chinese seal in the 21 st century. |
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