“他者”缺失后日本画的行进方向——全球化语境下当代“日本画”的反思  

The Direction When Japanese Paintings has the “Other” Deficiency——Reflection on Contemporary “Japanese painting” in the Context of Globalization

作　　者：何韵旺[1] 

机构地区：[1]华侨大学美术学院,福建泉州362021

出　　处：《华侨大学学报（哲学社会科学版）》2013年第4期146-153,共8页Journal of Huaqiao University(Philosophy & Social Sciences)

基　　金：日本公益财团法人东华教育文化交流财团赞助基金[公财东华教文(10)字第7号]

摘　　要：历史上,日本美术一直对照着中国文化艺术的范本进行建构。近代"日本画"的确立,也是以西欧文化体系为他者进行自我形塑。然而,在以信息交换与经济网络架构的后现代文化全球化的讨论框架中,"他者"与"自身"的对立轴已经消失,当代"日本画"必须在全球一体化的文化空间中,在全球化与本土化之间寻找自己的坐标。The development of Japanese art always corresponds to the Chinese culture and art. The establishment of the modem ＂Japanese paintings＂ is also shaped itself according to the western Europe cultural traditions. However, in the framework of postmodem cultural globalization based on the information exchange and economic network, the opposition of the ＂Other＂ and the ＂Self＂ has gone, and the contemporary ＂Japanese paintings＂ must look for its location or coordinate in the cultural space of globalization and between globalization and localization.

关 键 词：日本画 他者 全球化 主体性 

分 类 号：J205[艺术—美术]