摘要
蔡元培对美术的思考与表述带有明显的修辞性二元特征,从美术与科学、美育与实利主义到中国画与西洋画、临摹与写生,这些概念看似对立,但在他的论述中,总能找到某种互补,最终达到“复杂而统一”的兼容状态。因此,对于蔡元培的考察,应跳出非此即彼的二元对立思维。从他的二元性叙事模式切入,对蔡元培的美育观念与美术思想做整体性考察,同时兼顾话语生产的上下文,在看似“断裂”的表述下寻找隐含的内在逻辑。
Cai Yuanpei's thoughts and expressions on art have obvious rhetorical dualistic features.Concerning the relationships between art and science,aesthetic education and materialism,Chinese paintings and Western painting,copying and sketching,all of these concepts seem to be opposed.However,in his discussions,there are always certain complementarities that can be found,ultimately achieving a“complex and unified”state of compatibility.Therefore,when examining Cai Yuanpei,it is suggested in this paper to move beyond the binary oppositional thinking of either—or.From his dualistic narrative mode and taking into account the context of discourse production,we are supposed to conduct a holistic investigation of Cai Yuanpei's aesthetic education concepts and art thoughts,and thus find the hidden internal logic in seemingly opposite expressions.
作者
徐旷之
XU Kuangzhi(School of Humanities,Central Academy of Fine Arts,Beijing 100102,China)
出处
《美育学刊》
2024年第5期78-87,共10页
Journal of Aesthetic Education
关键词
蔡元培
断裂
二元性叙事
美育
Cai Yuanpei
opposition
dualistic narrative
aesthetic education
