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从上世纪初开始,西风东渐来势迅猛。本人虽因家庭及环境影响而于10岁时(1942)即开始学习中国书画(家父徐邦达当时为职业画家),并一度成为“国粹”派。但我很快地又因外界诱惑而转变成一个“全盘西化论”的信徒。现在回想起来,少年时代那些反复无常的思想完全是非理性的,皆因年幼无知所致。后来一上大学,才逐步意识到原先的错误——盲目排外或全盘西化的观念都是荒唐的。数十年来,不妨可以说是不断地清除自已头脑中这两种相反相成的错误观念的一个历史过程——记录在本人40年来发表的诸多著作与论文之中(见附录书目)。特别是最近出版的三部著作:《中国绘画艺术史》、《宋代绘画史》、《中国美术史宋代卷》(主编),作了一个阶段性的小结。我今天明确认识到,研究中国美术(绘画)最重要的方面便是治史,不研究、不懂得历史便无法探讨理论。同样,不研习理论更无法治史。
From the beginning of the last century, the westerly east gradually moved rapidly. Although I was studying Chinese painting and calligraphy at the age of 10 (1942) due to my family and environmental influences (my father, Xu Bangda was a professional painter at that time), I was once a “nationalist” school. But soon I was transformed by the temptation of outside into a believer of “total westernization.” Now, in retrospect, the capricious thoughts in our youth are completely irrational, all due to young ignorance. Later, as soon as I came to college, I realized that the original mistakes - the notion of blind exclusion or total westernization - were absurd. For decades, it could be argued that it was a historical process of constantly eliminating these two oppositely erroneous notions in one’s own mind - recorded in many of my 40-year-old writings and essays (see appendix). In particular, he recently published three books: The History of Chinese Painting Art, The History of Song Dynasty Paintings, The Song Dynasty of Chinese Fine Arts History (ed.), And made a staged summary. Today, I clearly realized that the most important aspect of studying Chinese art (painting) is to govern history, not to study and to understand history without understanding history. Similarly, it is impossible to study history without studying theory.