从《女史箴图》看20世纪初欧洲中国绘画研究模式  

The Research Mode of Chinese Painting in Europe in the Early 20th Century Seen from Gu Kaizhi’s Admonitions Scroll

作　　者：任仕东 Ren Shidong

机构地区：[1]东南大学艺术学院

出　　处：《国际汉学》2024年第1期79-87,152,153,共11页International Sinology

基　　金：国家社科基金中国历史研究院重大历史问题研究专项重大招标项目“‘太平洋丝绸之路’档案文献整理与研究”(项目编号:LSYZD21017)的阶段性成果。

摘　　要：中国卷轴绘画史的经典之作顾恺之《女史箴图》,在入藏大英博物馆的20世纪初期成为宾雍、翟理斯和沙畹等欧洲汉学家和艺术史家的重要研究对象。由于该画卷涉及图像、历史和文学等多重复杂的中国文化元素,为欧洲学者的《女史箴图》图像研究带来极大挑战。他们之间通过知识互惠、图像分享方式相互合作,在图像作者、内容、风格、形式、流传等方面取得西方视野下的初步认知。除借助中国画论等传统文本材料的文献分析之外,直觉式风格鉴赏和中西比较研究亦是欧洲学者跨文化研究的基础方式与方法,其中,后者经历了从早期的“中欧比较”或“中日比较”再到“中国比较”的内在转变。Gu Kaizhi’s Admonitions Scroll,a classic Chinese scrollpainting,became an important research object of European Sinologists and art historians,such as Laurence Binyon,Herbert A.Giles andÉdouard Chavannes,when it was collected in the British Museum in the early 20th century.Because the scroll involves multiple and complex Chinese cultural elements,such as image,history and literature,it has brought great challenges to the research on Admonitions Scroll by European scholars.They cooperated with each other through the exchange of what they knew and image sharing,and obtained a preliminary understanding of the painter,content,style,form and circulation of this painting from the Western perspective.In addition to the documentary analysis of traditional text materials with the help of Chinese painting theory and intuitive style appreciation,the comparative study of China and the West was also the basic way and method of cross-cultural research for these European scholars,who saw an internal transformation from early Sino-European comparisons or Sino-Japanese comparisons to Chinese comparisons.

关 键 词：《女史箴图》 汉学家 艺术史家 中国绘画研究 

分 类 号：J2.3[艺术—美术]