略论中国水墨画现代性转型的边界  

A Brief Account on the Boundary of the Modernity Transformation of Chinese Ink Painting

作　　者：马骋[1,2] MA Cheng

机构地区：[1]华东政法大学人文学院,上海201620 [2]华东政法大学·上海市司法鉴定理论研究会涉案文物鉴定研究中心(筹),上海201620

出　　处：《上海视觉》2021年第2期29-35,共7页Shanghai Vision

摘　　要：自20世纪90年代以来,中国水墨画在西方形式主义艺术挑战下已然践行着现代性转换,并被看作允许笔墨走向抽象,甚至允许放弃文人画的气韵意象,以具有现代主义诗性的笔墨自治向现代性转换。但现代水墨忽略了“画理”与“画法”作为中国水墨画的内在规定性,即具有逻辑上的同一律与结构上的整体性。“画法”并不是一种孤零零的存在,更不能脱离“画理”而自治。中国水墨画的现代诗性不仅仅是用笔墨,而是需要美学思想的现代性构建。无论现代水墨如何用力,仍然没有脱离当代西方形形色色美学思想,并以西方人的视角观照中国水墨艺术。因此中国水墨画的现代性转型,应当从其内在规定性出发,建构一套属于当代中国水墨画的审美价值及取向,这就是中国水墨画现代性转型不能跨越的边界。painting,even to the extent of abandoning the charm and image of literati paintings.Its transformation has gone from the autonomy of ink painting with modernist poetic quality to modernity.However,modern ink painting ignores the“painting principle”and“painting method”as the inherent regulations of Chinese ink painting,that is,it has logical identity and structural integrity.“Painting method”is not a solitary existence or autonomy without“painting principle”.The modernist poetic quality of Chinese ink painting is not only reflected in pen and ink,but also requires the construction of modernity of aesthetics.No matter how extensively and intensively modern ink is used,Chinese ink painting still hasn’t departed from contemporary Western aesthetic thoughts of all kinds and colors,and is observed from the perspective of Westerners.Therefore,the modernity transformation of Chinese ink painting should proceed from its inherent regulations to construct a set of aesthetic values and orientations that belong to contemporary Chinese ink painting.That is the boundary that cannot be crossed by the modernity transformation of Chinese ink painting.

关 键 词：中国水墨画 内在规定性 水墨现代性 转型边界 

分 类 号：J21[艺术—美术]