摘要
明清时期的“二西”语境,涵盖“西洋”和“西天”两个层面,在这种语境下,明清时人将西洋画的立体感与“凹凸花”联系起来,将西洋画的阴影法溯源到“天竺遗法”,产生了以“西天”法释西洋画的现象。这种现象是明清之际“西学中源”思潮的一个表征,其根源在于“夷夏之防”的民族文化心理以及“执古语今”的阐释传统。以“西天”法释西洋画作为一个学术史案例,对当下的学术研究具有一定的警示作用,即应尽量避免在西方绘画体系的“阴影”之下阐述中国绘画美学问题。
The context of sfumato and the western painting in the Ming and Qing Dynasties includes two aspects,i.e.the west of the world and India.In this context,the stereoscopic sense in the western painting was connected with the concave-convex flowers,and then shadowgraph in the western painting was traced back to sfumato,in which the western painting was used to explained.The phenomenon is a symbol which shows the thoughts of“western sciences mirroring Chinese origin”during the Ming and Qing Dynasties with the roots of national cultural psychology of Chinese national reverence and the interpretation tradition of holding on the old to master the present.The academic case of the interpretation of sfumato to the western painting shows the warning to the current academic research,and that the interpretation for Chinese painting should be avoided with the shadowgraph in the western painting system.
作者
李宝山
LI Baoshan(School of Fine arts,Yunnan Normal University,Kunming,Yunnan,China 650500)
出处
《昆明学院学报》
2021年第5期117-125,共9页
Journal of Kunming University
基金
国家社科基金项目“中国绘画美学‘真’‘实’论研究”(19BZX130)。
关键词
西画东渐
凹凸花
天竺遗法
西学中源
执古语今
明暗技法
eastern studies introduced to the west
concave-convex flowers
sfumato
western sciences mirroring Chinese origin
holding on the old to master the present
chiaroscuro technique
