摘要
五四时代的徐悲鸿,有痛批中国古老文化、崇拜西洋文化之时代烙印,但他不是出于弱者的民族自卑,而是援引、输入西方文化的同时,寻求民族文化强盛之根。他毕生提倡艺术兴国,坚持文化建设、文化保藏和文化输出,不仅开天辟地地改良中国画,且进行了中国画的海外推广。他的亚洲足迹和欧洲巡展都避免成为"被看"的"他者"形象,改写着中国文化在世界的弱势乃至失声状态,努力与第一世界建立平等交流的对话关系。这使得徐悲鸿极富后殖民时代的当代意义。他启示我们在今天民族化和现代化、本土化和全球化的二律背反的焦虑中,既不失去现代性进程中和世界接轨的机会,又坚持民族文化身份认同,并坚持发出东方本土自己的声音。当然东方发声也包括一切友好关注东方与世界和平对话、健康发展的人们,这是"全球化"语境中,世界范围内爱好和平的人们的砥砺共进。
In the May Fourth Movement, Xu Beihong has criticized China＇s ancient culture and worshiped the Western cul- ture. He did not seek the national culture from the weak, but seek the strong foundation of national culture. He dedicated to promote the country by art, adhered to cultural construction, cultural preservation and cultural output, not only made un- precedentedly improvement of Chinese painting, but also carried out overseas promotion of Chinese painting. His Asian footprints and European tours have avoided the ＂other＂ image of ＂being seen＂, and he was rewriting the situation of weak and right to speak of Chinese culture in the world, and working to establish equal exchanges with the first world. It made Xu Bei- hong＇s works full of post-colonial era of contemporary meaning. He enlightens that we are now in the inconsistent anxiety of nationalization and modernization, localization and globalization, in which we shall not miss the opportunity to meet the world in the process of modernity, but adhere to the national cultural identity, and insist on the local voice of the oriental. Certainly, the Eastern voice also includes all the people who pay close attention to the peace talks between the East and the world, the healthy development of it, which is the joint effort of peace-loving people in the ＂globalization＂ context.
出处
《艺术探索》
2017年第6期6-23,共18页
Arts Exploration
关键词
徐悲鸿
后殖民时代
文化建设
文化保藏
文化输出
Xu Beihong, Post-colonial Era, Cultural Construction, Cultural Preservation, Cultural Output
