关良的“双重身份”及其形式语言——20世纪“传统”、“现代”的一种认知机制

发布时间：2018-05-15 00:32

本文选题：关良 + 形式语言　；参考：《文艺研究》2017年05期

【摘要】：关良早年留学日本,归国后成为推动现代艺术的重要画家,晚年却以水墨人物画著称。他在20世纪画坛被赋予的文化角色,常被描述为看似对立的身份:现代主义开拓者、传统回归者,其间差异则被视作因政治现实而发生的"改弦易辙"。本文从"双重身份"的表述入手,指出"改弦易辙"的看法存在"传统与现代不相兼容"的潜在前提。针对这一前提,通过辨析其早年与晚年表述中的转折句,认为现代、传统在其认知结构中并非不兼容。相反,通过以形式语言为着眼点的认知方式、简繁关系为基础的判断逻辑,传统、现代获得了知识的重构。该经验向我们表明:文化碰撞不是简单对抗的"零和博弈"。看似不同的资源存在细微、蜿蜒的认知孔隙,并形成相互包容的交错关系。新的历史主体在幽微的缝隙中获得策略化均衡,使博弈关系从紧张对抗转变为互动生长。
[Abstract]:After studying in Japan in his early years, Guan Liang became an important painter in promoting modern art, but in his later years he was famous for his paintings. The cultural role he was endowed with in the 20th century is often described as a seemingly antagonistic identity: modernist pioneers and traditional returnees, and the differences between them are seen as a "change of course" due to political reality. Starting with the expression of "dual identity", this paper points out that the view of "changing course" has the potential premise of "traditional and modern incompatibility". In view of this premise, it is considered that modern tradition is not incompatible in its cognitive structure by discriminating the transition sentences in its early years and later years. On the contrary, traditional and modern knowledge has been reconstructed through the cognitive mode based on formal language and the judgment logic based on simple and complex relations. This experience shows us that cultural collision is not a zero-sum game of simple confrontation. Seemingly different resources have subtle, meandering cognitive pores, and mutually-contained interlaced relationships. The new historical subject obtains the strategic equilibrium in the faint gap, which changes the game relationship from tense confrontation to interactive growth.
【作者单位】：中国艺术研究院美术研究所;
【分类号】：J212

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