“美”与“非真”的和解——现代性知识话语论域中中国艺术的伪作、仿作研究  

Beauty Reconciles with “the Unreal”——The Study of Forgery and Imitation in Chinese Art in the Domain of Knowledge

作　　者：佘国秀 She Guoxiu

机构地区：[1]四川大学文新学院

出　　处：《河南社会科学》2019年第9期64-70,共7页Henan Social Sciences

摘　　要：中国艺术中的仿作、伪作给艺术品真伪鉴识造成了极大困难。西方学者在书写中国艺术史时,几乎无一例外地叙述了这一现象。他们大多强调审美价值,回避真本与仿作、伪作绝对区分,并从信仰观念史、艺术史、社会思潮史方面追溯仿、伪之作在中国存在的深刻原因。由于大多数学者忽视了仿作与伪作中无意作伪与有意作伪的根本区别,致使20世纪英语世界中国艺术史对这一现象的叙述偏离了中国文化逻辑与艺术精神。在跨文明艺术研究中,西方学者以现代性知识话语浅层搁置了中国艺术继承论的深度命意,以自我为参照,进行同质化阐释,忽视了中西艺术的根本差异。The imitations and forgeries in Chinese art have caused great difficulties in identifying the authenticity of artworks. Western scholars almost invariably narrate this phenomenon when they write the history of Chinese art. Most of them take esthetic value as the choice to avoid the absolute distinction between the true and the false. Western scholars trace the reasons for the existence of imitations and forgeries in China from the perspectives of the history of beliefs and concepts, the history of art, and the history of social trends of thought.Because most scholars ignore the fundamental difference between the unintentional and the intentional falsification in the imitation and forgery, their narration of this phenomenon deviates from the logic of Chinese culture and the spirit of art. Western scholars put aside the deep meaning of the inheritance theory of Chinese art in the shallow layer of modern knowledge discourse, and made homogeneous interpretation with selfreference, ignoring the fundamental differences between Chinese and western art in the study of crosscivilization art.

关 键 词：现代性知识话语 仿古 伪作 艺术继承论 

分 类 号：I01[文学—文学理论]