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China has come to have the aspect of new modern state through the acceptance of new educational system, along with the abolition of old state examination(1905), and thus, western style art educational system called a professional art college comes into being in China. Throughout the nation, the discussion on crisis about the traditional Chinese paintings succeeds to the reform of the traditional Chinese paintings so that a new change has begun in Chinese art world. Among them, Cai Yuanpei, who was the most influential in China's modern art world, insisted on the reform of Chinese out by advocating American upbringing thought, which comes to provide the occasion for establishing academic system called history of art in out educational. Unlike this situation to the traditionalists who were in the position of adhering to the tradition, the art education appeared as a national mission called the revival of the Chinese paintings, and it has risen as a task called the implementation of the creation of art by basing the theory of art of the China's paintings. This change starts from the criticism of Si Wang of the Ching Dynasty's style of paintings, and comes to describe the history of new China's paintings.
As the New Culture Movement develops because of Wusi Movement(1919), regarding the reformists' position of intending to overcome the negative image called 'copy' and 'restoration' through Anti-Siwang, Siwang revolution, the traditionalists also have the attitude of accepting the spirit of the age of the Anti-Siwang and Anti-orthodox and have come to establish a new position. It can be seen that these great masters centering around the traditional men of letters have found the superior tradition versed in Art history and Art-theory from the vigor of new category.
This is seen in the fact that such great masters as Chen Hengke in Beijing, Huang Binhong in Shanghai, Pan Tianshou in Hangzhou, and Fu Baoshi in Nanjing are working at art schools or perform the work of painting pictures while taking the lead in the study of history of art. Accordingly, this presentation aimed at examining the task of modern art history which has surfaced as the ideology of art education. And at the same time, I am going to look into the art history of Teng Gu who described China's art history based on the development of the western style for the first time in China. Together with this, I am going to perceive the position of China's modern art history by looking into the stream of the criticism discussed with are emphasis on modern times.
As the New Culture Movement develops because of Wusi Movement(1919), regarding the reformists' position of intending to overcome the negative image called 'copy' and 'restoration' through Anti-Siwang, Siwang revolution, the traditionalists also have the attitude of accepting the spirit of the age of the Anti-Siwang and Anti-orthodox and have come to establish a new position. It can be seen that these great masters centering around the traditional men of letters have found the superior tradition versed in Art history and Art-theory from the vigor of new category.
This is seen in the fact that such great masters as Chen Hengke in Beijing, Huang Binhong in Shanghai, Pan Tianshou in Hangzhou, and Fu Baoshi in Nanjing are working at art schools or perform the work of painting pictures while taking the lead in the study of history of art. Accordingly, this presentation aimed at examining the task of modern art history which has surfaced as the ideology of art education. And at the same time, I am going to look into the art history of Teng Gu who described China's art history based on the development of the western style for the first time in China. Together with this, I am going to perceive the position of China's modern art history by looking into the stream of the criticism discussed with are emphasis on modern times.
목차
Ⅰ. 머리말
Ⅱ. 신미술교육의 미술이론
Ⅲ. 膝固의 중국미술사
Ⅳ. 중국 근대화단에서 논의된 청대 ‘四王’
Ⅴ. 맺음말
참고문헌
Abstract
「反四王의 근대적 과제: 중국의 미술교육과 미술사」에 대한 질의
정형민 선생님의 질의에 대한 답변
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