论文部分内容阅读
近百年来，中国的艺术家、学者一直对下列两个问题孜孜以求，即：如何评定中西方文化各自的价值？如何应对东西方文化的融合？本文从艺术史研究的角度出发，通过作品本身所提供的视觉证据和文化间的比较研究，欲为上述问题提供一新的视角。作者认为中西方绘画都源于再现性传统。但是这两个传统从一开始就面对不同的挑战，作出了不同的回应。中国绘画由于与书法的结合，以及北宋末年文人画的兴起，而由客观再现趋向于主观的表达。２０世纪，当主张西化者，欲以西方模式改良中国绘画时，一些对传统有充份认识的中国学者和海外学者却开始建立关于中国古代绘画的收藏和研究。而对于２０世纪中国绘画“现代性”的研究，也可以从中国艺术史内部的发展中寻找出其变化的动力。
Over the past century, Chinese artists and scholars have been assiduous of two questions: how to assess the respective values of Chinese and Western cultures? How to deal with the integration of Eastern and Western cultures? From the perspective of the study of art history, this article provides a new perspective for the above issues through the visual evidence provided by the works themselves and the comparative study between cultures. The author believes that both Chinese and Western paintings originate from the reproductive tradition. However, these two traditions have responded differently by facing different challenges from the very beginning. Due to the combination with calligraphy and the rise of literati painting in the late Northern Song Dynasty, Chinese paintings tend to subjectively express their subjective expressions. In the 20th century, when advocating Westernization and attempting to improve Chinese painting with Western models, some Chinese scholars and overseas scholars with a full understanding of tradition started to establish collections and research on ancient Chinese paintings. As for the research on the “modernity” of Chinese painting in the 20th century, the motivation for change can also be found out from the internal development of Chinese art history.