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在以往关于1947年10月北平艺专“三教授罢教”事件的叙述中,无不将三教授一方与“国民党”进行恶意捆绑,欲从政治将其打倒,而忽略了徐悲鸿更深的国民党背景。1947年10月1日,艺专国画组秦仲文、李智超、陈缘督,由于不满一年来学校对国画组之种种措施,特致函校长徐悲鸿,提出质询与诉求,同时停止授课。徐悲鸿没有回应三教授的质疑与诉求,强硬表态:“合则留,不合则去”。事态由此升级,北平美术会响应罢教三教授,并发表《反对徐悲鸿摧残国画宣言》,徐悲鸿抛出了以“素描是一切造型艺术之基础”为理论依据的《新国画建立之步骤》来应对,由此上演了一场旷日持久的国画论战。今天考察分析事件的全过程,可以让我们从双方讨论所涉及的问题中照见今天国画发展困境的历史根源,进而在回望“来时路”的过程中有所反思、觉悟,还可以还当事双方和整个事件以本来面目,将颠倒的历史摆正过来。
In the past, in the account of the Peking Art Academy’s “Three Professor’s Teaching and Training” events in October 1947, all three professors were maliciously tied up with the “Kuomintang” and wanted to be overthrown from politics while ignoring Xu Beihong’s deeper Kuomintang background. On October 1, 1947, art troupes Qin Zhongwen, Li Zhichao and Chen Yuntuan, due to dissatisfaction with the school’s various measures to the Chinese painting group over the past year, issued a special letter to the principal Xu Beihong asking questions and stopping teaching. Xu Beihong did not respond to the three professors’ questions and demands, hard-line position: “co-stay, substandard or go ”. As a result, the Peking Academy of Fine Arts responded to the three professors to stop teaching at the church and published the Declaration of “Against Xu Beihong’s Destruction of Chinese Painting.” Xu Beihong threw out the steps of establishing the new Chinese painting based on the theory that “drawing is the basis of all plastic arts” “To deal with, which staged a protracted painting controversy. Examining and analyzing the entire process of the incident today will allow us to take a look at the historical roots of the dilemma in the development of today’s Chinese painting from the issues discussed by both sides so that we can reflect on and find ways in the course of looking back at the ” It is still possible to bring the two parties and the entire incident to their own interpretation and to reverse the reversed history.