一正一反的两张面孔:对于鲁迅设计批评的思考和追问  

Two Faces,One Positive and One Negative:Reflection and questions on Lu Xun's design criticism

作　　者：黄厚石[1] Huang Houshi

机构地区：[1]南京艺术学院设计学院,江苏南京210013

出　　处：《南京艺术学院学报（美术与设计）》2020年第4期76-81,I0003,共7页Journal of Nanjing Arts Institute:Fine Arts & Design

摘　　要：作为一位设计批评家,鲁迅不仅对陶元庆等年轻设计师大力提携、关爱有加,也给设计史留下了一段与叶灵凤之间耐人寻味的文字官司。在这种迥然不同的批评态度之下,鲁迅先生塑造出了一正一反的两张面孔,长久地影响着研究者对于民国设计的认知和判断。然而,在这一系列设计批评的背后,具有偶然性的事件中到底包含着怎样一种对于中国近代设计本体性的认识,到底出于何种连批评者都有可能尚未察觉的目的和动机?本文试图将这两张“面孔”同时呈现在一面“镜子”中,从中端详,暗自揣摩,比对分析,试求其真。As a design critic,Lu Xun not only greatly promoted and cared for young designers such as Tao Yuanqing,but also left an intriguing argument with Ye Lingfeng in the design history.In this very different critical attitude,Mr.Lu Xun created two faces,one positive and one negative,which has long influenced researchers'cognition and judgment of the design of the Republic of China.However,behind this series of design criticism,what kind of understanding of the noumenon of modern Chinese design is contained in the accidental events,and with what purpose and motive may not even be noticed by critics?This paper attempts to present these two“faces”in one“mirror”at the same time,from which we can examine,secretly speculate,compare and analyze them,so to try to find out their truth.

关 键 词：鲁迅 设计批评 陶元庆 叶灵凤 

分 类 号：J203[艺术—美术]