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随着中国近现代美术研究不断深入,在着眼于发掘文献材料和填补知识空白的同时,对那些近代以来在中国美术发展中产生深远影响,并有着一定研究基础的画家,则应以敏锐的问题意识,从新的角度对文献材料进行合理分析,以“再研究”的方式检讨或深化以往的历史认识。本文尝试从现存的文献材料中,还原齐白石初到北京时(1919年至1922年间)画风和印风的现实境遇,并以此为契机分析民初北京地区画学与印学观念的具体内涵。
With the deepening of the study of Chinese modern and contemporary art, while focusing on the exploration of literature materials and filling in the gaps of knowledge, painters who have had a profound influence on the development of Chinese art in modern times and have a certain foundation for their studies should be sensitive Consciousness, from a new perspective on the reasonable analysis of documents and materials, to “re-study” way to review or deepen the previous understanding of history. This essay attempts to restore the actual situation of style and style of painting when Qi Baishi first arrived in Beijing (from 1919 to 1922) from the existing literature and materials, and take this as an opportunity to analyze the concrete connotation of the concept of painting and printing in early Beijing .