1935年“伦敦国际中国艺术展”与中国书画美学的西传——以蒋彝为中心  

“London International Exhibition of Chinese Art”in 1935 and the Western Spread of Chinese Painting and Calligraphy Aesthetics:Take Chiang Yee as the center

作　　者：马菁茹 Ma Jingru

机构地区：[1]南京师范大学文学院,江苏南京210097

出　　处：《南京师范大学文学院学报》2023年第4期106-113,共8页Journal of School of Chinese Language and Culture Nanjing Normal University

基　　金：国家社会科学基金项目“《伯灵顿杂志》与中国艺术美学的西传研究”(21BWW002)。

摘　　要：蒋彝是1935年“伦敦国际中国艺术展览会”上中国书画的主要讲解者,也是唯一的中国学者。本文关注他以展览盛事下的“中国热”为契机,对中国书画美学做出独特的跨文化阐释,及其在推动东西方艺术美学的交流互鉴方面的贡献。蒋彝因之跨文化身份而具有天然的比较眼光,以《中国之眼》和《中国书法》两部专著为主要阵地,将中国书画的技法、媒介、史论和美学原则等系统地介绍给西方,同时以“线条”作为勾连东西方美学的基础原则,探寻其中暗含的艺术的普遍性和共通性,从而体现出一种“世界主义”性质的艺术观念。Chiang Yee was the main lecturer of Chinese calligraphy and painting and also the only Chinese scholar at the“London International Exhibition of Chinese Art”in 1935.This article focuses on his unique cross-cultural interpretation of the aesthetics of Chinese calligraphy and painting.Taking the opportunity of the Chinoiserie under the exhibition event,he contributed to promoting the exchange and mutual learning of Eastern and Western art aesthetics.Chiang Yee has a natural comparative vision because of his cross-cultural identity.In his two monographs Chinese Eye and Chinese Calligraphy,he systematically introduced the techniques,media,historical theory and aesthetic principles of Chinese calligraphy and painting.He took“line”as the basic principle to link Eastern and Western aesthetics,exploring the universality and commonality of art implied in both sides,thus reflecting a cosmopolitan artistic standpoint.

关 键 词：伦敦国际中国艺术展 蒋彝 中国绘画 中国书法 美学传播 

分 类 号：J110.9[艺术—艺术理论]