1917年姜丹書《美術史》的出版，開啟了民國西洋美術史譯述引介的熱潮，直至1949年，公開出版的各類西洋美術史論著多達50餘部。這一時期以編述、譯述歐洲及日本學者的同類論著為主要生產方式，因而多數「西洋美術史」具備複雜的文化「混血」品格，留存了中西文化交流互動的歷史痕跡。本文以其對「後印象派」(Post-Impressionism)的描述為中心，擇此期流播較廣、影響較大較重要的幾部西洋美術史論著（編／譯者分別為呂澂、豐子愷、魯迅和倪貽德），聚焦其對該畫派的譯介、闡釋和評價，來窺探和分析其時文藝界對該畫派及西方現代藝術的認知與理解，同時追尋其可能產生的影響蹤跡。
西洋美術史、後印象派、呂澂、豐子愷、魯迅、倪貽德
Outline of the Fine Art, the textbook edited by Jiang Danshu and published in 1917, marked the f irst f lowering of Chinese writing ofn Western art history, which peaked during the decade of 1928~1937, and went on hiatus in 1949. Intellectuals from various fields, including art teachers, painters, art critics, scholars, poets and novelists, joined in translating and editing European or Japanese works on Western art history, quite freely and casually, to feed a hungry market of art students and ordinary readers — in this way, more than 50 books were produced, the majority of which are neither real translations nor original works, but transitional products of cultural interaction. This article surveys the chapters on Post-Impressionism from five influential works on Western art history edited or translated respectively by Lv Cheng, Feng Zikai, Lu Xun and Ni Yide, offering analyses their descriptions and understandings of modern painting, and exploring the possible influence of these "impure" writings on Chinese modern art.
History of Western art, Post-Impressionism, Lv Cheng, Feng Zikai, Lu Xun, Ni Yide
