摘要
本文聚焦20世纪初期大西洋两岸的西方艺术史学者在学术讨论中对中国绘画接受程度的转变,并研究了其在动摇古典模式的美学讨论中的地位和作用。方法上的趋同导致了对西方连接历史、美学和史学语境的逻辑的质疑。此外,20世纪最初几十年对世界文化开放的加剧,同样推动了中国绘画新认知的产生。如果说中国绘画展现出另一种绘画参考系的有效性及其内在一致性,那么在艺术史学者中则形成了一种观念,即对于区别或偏离古典规范的表达形式的探索也应该在西方传统的背景下进行。这有利于中国绘画与意大利早期绘画或现当代艺术之间的调和与比较,反过来也为重新解读西方艺术开辟了道路。因此,对欧洲之外文化可能存在的其他美学准则的讨论,在很大程度上促进了关于中国绘画观念的转变,而后者同样对这些讨论作出了贡献。
This article focuses on changes in the acceptance of Chinese painting in academic discussion by western art historians on both sides of the Atlantic in the early 20th Century,and examines its status and role in aesthetic discussion that challenged classical models.Thee convergence of methods led to the questioning of logic that connected the context of history,aesthetics and historical science in the west.In addition,greater openness to cultures in the world in the first few decades of the 20th Century also promoted the emergence of new thoughts on Chinese painting.If what Chinese painting represented was the effectiveness and internal coherence of another painting reference frame,then a concept emerged among art historians,namely expression forms that differed or deviated from classical norms should also be explored within the context of western tradition.This was conducive to the reconciliation of and comparison between Chinese painting and early painting or modern and contemporary art in Italy,which in turn paved the way for reinterpreting western art.Theerefore,discussion on possible aesthetic norms in cultures other than Europe has largely promoted changes in the understanding of Chinese painting,which has also contributed to these discussion.
作者
林艺艇(译)
Chang-Ming Peng;Lin Yiting(Art History,Faculty of Humanities,University of Lille)
出处
《美术》
CSSCI
北大核心
2024年第8期118-130,141,共14页
Art Magazine
关键词
中国绘画
西方接受
艺术史
比较研究
现代艺术
美学标准重估
Chinese painting
acceptance in the west
art history
comparative study
modern art
reevaluation of aesthetic standards
