摘要
中西文化交流史上的"中国风"艺术具有特殊地位,它既突破了艺术品作为物质存在的民族归属,也打破了西方传统对艺术分类的清晰界限,因而常常引起文化属性方面的困惑乃至争议。正是在流变过程中所具有的杂糅性、动态性和生成性,使它具有了跨文化及多文化融合的品质。从"自我"与"他者"相互耦合的视角来看,"中国风"艺术并不能简单归属于欧洲文化或中国文化,其跨文化的融杂与生成特质决定了它的现代性价值和全球化属性。为此,应当以开放的视野看待"中国风"艺术的跨文化混合特征,并主动担当跨文化交流与新文化生成中的主体作为。
In the history of cultural exchanges between China and the West, Chinoiserie owns a very special status, which not only confuses the national ownership of art works as a material existence, but also breaks the clear boundaries of the classification of art in the western tradition, thus often causing much criticism or confusion about cultural attributes. In fact, Chinoiserie has deep cultural roots in both Europe and China. However, it is the hybridity, dynamism and generativeness in the rheological process that make it possess the quality of cross-cultural and even multi-cultural integration. From the perspective of “ego” and “other”, Chinoiserie cannot simply belong to European culture or China culture. Its intercultural blending and generating characteristics determine its modernity value and worldwide attributes. Therefore, we should hold an open view on the cross-cultural mixing characteristics of Chinoiserie, and take the initiative to act as the main body in cross-cultural communication and new culture generation.
作者
张春华
方辉
Zhang Chunhua;Fang Hui(Shandong University, Jinan 250100, P.R.China)
出处
《山东大学学报（哲学社会科学版）》
CSSCI
北大核心
2019年第3期178-184,共7页
Journal of Shandong University(Philosophy and Social Sciences)
关键词
“中国风”艺术
中西交流
文化属性
混合式生成
Chinoiserie
Exchanges between China and the West
Cultural property
Hybrid generation
