摘要
以触觉和技艺看待中国艺术,是本雅明一个鲜明的论述方式,这也体现于他对中国书画的看法。可以说,对触觉的重视与对中国艺术的评价,这两者不期而遇,产生了共鸣。要细究此一语境,需还原和考察20世纪上半期的欧美汉学界。事实上,自19世纪末以来,中国绘画和中国书法进入了欧洲汉学界的视野。本雅明对中国艺术的评论,也无法脱离此一汉学研究的历史语境。从20世纪上半期欧洲汉学史界的学术交往关系,我们可以发现本雅明吸收了其时汉学家杜伯秋、林语堂、亚瑟•卫利、卫礼贤等人的见解,将其为己所用以实现对现代性的批判。在评论中国绘画方面,通过分析被遗忘的、忽视的中国绘画经验,本雅明试图突破以往的偏见。在评论中国书法方面,通过媒介考古学的方式,本雅明区分了誊写与机器印刷的不同经验。在对现代性史前史的探索中,本雅明将视野转向了中国,试图发现中国传统文化的现代性意义。从这个意义上讲,中国艺术传统与本雅明笔下的西方文化现实汇合到了一个论域。正是在这个意义上,本雅明叙述的中国成为了一种承载编码信息的符号,用以修复西方现代性发展所导致的经验匮乏。
Viewing Chinese art in terms of sense of touch and craftsmanship is a distinctive way of discourse for Benjamin,which is also reflected in his views on Chinese painting and calligraphy.It can be said that the emphasis on the sense of touch and the evaluation of Chinese art have coincided and resonated.To scrutinize this context,one needs to restore and examine the Euro-American sinological circles in the first half of the twentieth century.In fact,since the end of the nineteenth century,Chinese painting and calligraphy have been in the vision of European sinological circles.Benjamin’s comments on Chinese art cannot be separated from this historical context of sinological research.From the academic interactions in the history of European sinology in the first half of the twentieth century,we can find that Benjamin absorbed the insights of Chinese scholars such as J.P.Dubosc,Yutang LIN,Arthur Waley and Richard Wilhelm,and used them for his own purpose in order to realize his critique of modernity.In commenting on Chinese painting,Benjamin attempts to break through the past prejudices by analyzing the forgotten and neglected experience of Chinese painting.In commenting on Chinese calligraphy,Benjamin,through media archaeology,distinguishes between the different experiences of hand transcription and machine printing.In his exploration of the prehistory of modernity,Benjamin turns his vision to China in an attempt to discover the significance of modernity in traditional Chinese culture.In this sense,the Chinese art tradition and Benjamin’s Western cultural reality converge into a single thesis.It is in this sense that Benjamin’s narrative of China becomes a symbol that carries coded information to repair the lack of experience caused by the development of Western modernity.
出处
《中国文艺评论》
2023年第12期27-42,I0005,I0006,共18页
China Literature and Art Criticism
基金
2018年度国家社科基金重大项目“华人学者中国文艺理论及思想的文献整理与研究”(项目批准号:18ZDA265)的阶段性成果。
关键词
本雅明
中国
绘画
书法
前现代
Walter Benjamin
China
painting
calligraphy
pre-modern
