Shui Tianzhong pointed out in the article "The Generation and Change of Chinese Painting Names" that "the painting of our nation was called' Chinese Painting' only in the last hundred years." In fact, this is not accurate. At least in the late Ming Dynasty, after missionaries brought oil painting art to China, this trend of comparing "Western painting" with local Chinese painting (commonly known as "Chinese painting", "Chinese painting" and "Chinese painting") quietly rose in the Central Plains. For example, Jiang Shaoshu's History of Silent Poetry in the late Ming Dynasty made a simple comparison between Chinese and western paintings, marveling at the rigorous modeling of western paintings and saying that "China painters are at a loss"; In the eighth year of Chongzhen (1635), Liu Dong and Yu Yi were writing A Brief Introduction to the Scenery of the Capital, also known as "Chinese painting is out of reach". This simple analogy still existed in all kinds of notes and documents until the beginning of the 20th century, and the title of "Chinese painting" was gradually accepted. However, the concept of "Chinese painting" at this time is still much larger than the later "Chinese painting", which can be considered as the general term used to refer to China's paintings in past dynasties. Cai Yuanpei clearly pointed out in his speech at the opening ceremony of the National Beijing Academy of Fine Arts on April 19 15, 2008: "China's painting and calligraphy are related, and western painting and sculpture are related." Although there is suspicion of echoing the contrast trend of "dichotomy between China and the West", we can think that such a systematic understanding is based on grasping and understanding the overall face of China's painting history. However, according to the author's investigation, until the 19 19 New Culture Movement, there was no data to support that the concept of "Chinese painting" had been produced or applied.
1, 19 19: the first birth of "Chinese painting"
The historical turning point occurred after the May 4th New Culture Movement in 19 19. This year, a debate about the movement of "sorting out national heritage" was launched in Peking University, where the ideological atmosphere was active. For a time, under the misinterpretation of vulgarization of this movement, such as "preserving the quintessence of the country" and "promoting national glory", the word "country" became all the rage, and many things that "China has, but foreign countries don't" were creatively associated with the attribute of "country". Concepts such as China music, traditional Chinese medicine, and China cuisine came out one after another, and the concept of "Chinese painting", which shoulders the mission of national cultural rejuvenation, came into being at this stage. For example, Guangdong Guihai Cooperative established by 1923 (renamed as Chinese Painting Research Society by 1925) and Suzhou Chinese Painting Society established by 1926. , are relatively early records of Chinese painting. Although it is a pity that we can't trace back to the originator of the concept of "Chinese painting", we can easily see the inevitability, blindness and urgency of the concept of "Chinese painting" according to the records of such a social atmosphere as "what you say must be called' country'" by famous literati such as He Bingsong and Zheng Zhenduo at that time. For example, in June 1923, Gu Shi pointed out: "In recent years, the concept of state has become popular among people, and various nouns with the word' state' abound." In the filing opinion of 1923 Guihai Cooperative, it is clearly stated: "Chinese painting is related to the culture of a country, and it is also a symbol of national characteristics, alongside mountains and rivers, people and historical customs." It can be seen that the driving force behind the concept of "Chinese painting" is also the popularization of "national concept". Under the strong west wind, "painting" finally found its counterpart in the tradition of China, so the concept of "Chinese painting" was born for the first time.
However, it should be noted that the "Chinese painting" mentioned in this period is closer to the "Chinese painting" used before, but it is still very different from the "Chinese painting" mentioned today. In1926+065438+1October 12, Tong Guang (signature) wrote:
I can't say for sure. In a word, since the so-called "Chinese painting" became a subject in China schools, "foreign painting", like other sciences, has been studied and welcomed by people in China, hence the name "Chinese painting". The origin of the original name is different from that of "foreign painting", such as the name of foreign goods and then the name of domestic products, from foreign languages to Chinese names, which is not elegant at first.
Obviously, in the early days of the concept of "Chinese painting", it was basically the same as "Chinese painting" except for adding some strong national colors. Historical facts also show that in the 1940s, the concepts of "Chinese painting" and "Chinese painting" were often not clearly defined in the art world. 40010.000000001005 However, although it appeared as a "national heritage", that is, the traditional culture of China, after all, under the impact of the western art wave, "Chinese painting" was given the English equivalent name of "painting" from the beginning. Therefore, under the new perspective of western "art", the face of traditional Chinese painting is inevitably misunderstood and westernized. At the same time, it is precisely because of the ambiguity of this naming that China's paintings will continue to face a passive and painful development path after 1920s.
Chinese painting, ancient origin, hieroglyphics, foundation stone; Writing and drawing, at the beginning, there is no difference, so.
There is a saying in China that calligraphy and painting are homologous. Some people think that Fuxi's painting and writing are the first. There is no difference between writing and drawing.