摘要
从本雅明对明清文人书画作为“思想形象”的体认、莱因哈特对宋元文人画“非形式”的经典地位追封,到丹托以明清文人书画佐证艺术作为寻常物“变容”的普适价值,3位西方学者借由对中国文人画的观展体验,围绕思想与形象之间的关系展开理论阐释,构建了思想与形象在艺术中交叠、悖反、超变3种典型理论路径,形成了贯穿20世纪西方艺术理论的一条基本线索。而通过还原20世纪西方艺术理论、艺术批评和海外中国艺术史研究前沿场域的彼此互动,亦可见史、论、评三者的有机结合,曾有效推动着20世纪艺术理论的持续创新。其中,西方学者对“文人画”回归生命本身的共识,又可为重审中国传统艺术的当代价值提供值得探讨的异域视角。
From Walter Benjamin’s explanation of Ming and Qing literati painting and calligraphy as “thought-image”, Ad Reinhardt’s canonization of Song and Yuan literati painting as ideal “formless” art, to Arthur Danto’s quotation of Ming and Qing literati painting and calligraphy as “transfiguration” of the commonplace, through their experiences of watching Chinese literati paintings, three generations of western scholars constructed three typical theoretical relationships between “thought” and “image”separately as overlap, contradiction and transcendence, which formed a basic clue in western art theory throughout the 20th century. By excavating the interaction of western art theory, comments on art and the forefront of progress in overseas Chinese art history, this paper also explores the close combination of art theory, art critic and art history during the development of western art theory in the 20th century. Besides, the three scholars reached a consensus on Chinese literati art as an effective artistic approach to help people recover from vulgar life to true life itself, which provides us an alternative perspective to further explore the value of traditional Chinese literati paintings.
出处
《美术》
CSSCI
北大核心
2022年第9期80-92,共13页
Art Magazine
关键词
本雅明
莱因哈特
丹托
文人画
当代艺术
Walter Benjamin
Ad Reinhard
Arthur Danto
literati painting
contemporary art
作者简介
董丽慧,北京大学艺术学院助理教授。
