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我没有理论“1959年,当我出版西方语言中的第一部研究此课题(20世纪的中国艺术)的专著时,西方同行们批评我为一个不值得严肃对待的课题浪费时间。”苏立文在《20世纪中国艺术与艺术家》一书的中文版序言中说。中国近代以来的国际形象大概可以解释这一现象,和中国近代的经济、社会状况一样,中国近代的文化、艺术在西方很多人的眼里只能是次要的存在。苏立文曾表示:“欧美公众几乎没有见过传统国画以外的中国绘画。”在西方公众和知识界看来,中国当代艺术不过是西方美术的次生物。以致“徐悲鸿和他的对手刘海粟,于1930年代中期举办中国当代艺术展时,都小心翼翼地奉上国画”。这种影响一直延续至今,以一种变异形态出现在很多中国当代艺术家的行为之中。
I did not have a theory. “When I published the first book in western language on this subject (Chinese art in the 20th century), Western colleagues criticized me as wasting time on a topic that was not worth serious treatment.” “ Sullivan said in the preface to the Chinese edition of ”20th Century Chinese Art and Artist“. The international image of China since modern times probably explains this phenomenon. Like the economic and social conditions in modern China, the culture and art in modern China can only be secondary to the eyes of many in the West. Su Liwen once said: ”The European and American public have hardly seen any Chinese painting other than traditional Chinese painting.“ To the public and intellectual circles in the West, contemporary Chinese art is but a secondary creature of Western art. ”Xu Beihong and his opponent Liu Haisu both cautiously offered Chinese paintings when they held the Chinese contemporary art exhibition in the mid-1930s." This influence has continued to this day, in a variant form appeared in the behavior of many Chinese contemporary artists.