“国画”概念的产生及其流变——以民国前期的美术为例

发布时间：2018-07-06 19:12

本文选题：国画 + 民族国家　；参考：《文艺理论研究》2017年01期

【摘要】：“国画”概念最初是伴随着民族国家的建立而产生的,但在命名的过程中,既存在着国家权力对本土艺术的收编以及话语权的介入,又有着对于多元文化的碾压和遮蔽。同时,“国画”的内涵——诸如画家身份、笔墨意义、艺术功能等等,也都随着“国画”概念外延的拓展而改变。就民国前期的美术而言,面对西方这一文化他者,各派美术实验所蕴含的“中体西用”或“以西革中”的立场进一步凸显,呈现出一种在时间维度与空间向度上的现代性错位。而在长期的话语阐释中,“国画”概念本身也逐渐被创造和填充了更多复杂的意义,从而共同丰富着对于“国画”的多重定义。
[Abstract]:The concept of "traditional Chinese painting" came into being with the establishment of the nation-state at first, but in the process of naming, there existed not only the state power's readjustment of the native art and the intervention of the right to speak, but also the oppression and shielding of the multiculturalism. At the same time, the connotation of "traditional Chinese painting", such as the identity of the painter, the meaning of pen and ink, the artistic function and so on, also changes with the extension of the concept of "Chinese painting". As far as the art in the early Republic of China is concerned, in the face of the cultural otherness of the West, the position of "the use of the West" or "the Western Revolution" contained in the various art experiments is further highlighted, showing a modern dislocation in the dimension of time and space. In the long-term discourse interpretation, the concept of "traditional Chinese painting" itself has been gradually created and filled with more complex meaning, thus enriching the definition of "Chinese painting".
【作者单位】：清华大学人文学院哲学系;

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