“中华性”与“现代性”的扭结:论北平辅仁大学中国基督教绘画实践(1929—1949)  

The Tangle of“Chineseness”and“Modernity”:On the Practice of Chinese Christian Painting at Fu Jen Catholic University(1929-1949)

作　　者：褚潇白[1] CHU Xiaobai(East China Normal University)

机构地区：[1]华东师范大学

出　　处：《国际比较文学（中英文）》2024年第1期39-67,共29页International Comparative Literature

摘　　要：基督教艺术在西方有着悠久的历史,但在中国传统绘画中并未形成固定模式。民国时期,北平辅仁大学的艺术家们尝试将西方基督教绘画的题材与中国绘画传统相结合,创造出具有“中西合璧”特色的宗教画作。这些作品在构图、视觉惯例符号的运用上显示出中西融合的特点,同时在题材、绘画媒介、技法和位置经营等方面体现了中国传统工笔画和文人水墨画的特色。这就导致辅仁圣教画作在形式与内容、视觉现代性与神学内涵规定性之间构成了双重吊诡,即在形式上对中国观众来说是传统的,而对西方天主教来说是现代的;同时,其图像内容对民国时期的中国来说是西方的(现代的),但对西方天主教来说又是传统的。由此,辅仁圣教画作在国内外的反响和传播情况呈现出鲜明的差异:它们在西方受到赞誉,但在民国时期的中国却遭遇了两难境地。这次中国基督教绘画本土化的实践不仅呈现出当时中国半殖民地情境下对视觉现代性的追求与本土化尝试之间的张力,也反映了民国社会对现代性、民族身份和宗教艺术的复杂态度;而辅仁大学传教士画家方希圣的作品《苦难的中国》则以其深刻的社会现实主义风格,触及了人类普遍的苦难体验,从而在一定程度上超越了艺术的民族界限,在“中华性”与“现代性”的扭结中探寻基督教艺术本土化表达的可能性。辅仁大学的中国基督教绘画实践不仅是一次艺术上的创新尝试,也是中西文化交流和宗教本土化的重要案例。Christian art has a long history in the West,but it has not formed a fixed pattern in traditional Chinese painting.Artists from Fu Jen,then commonly known as The Catholic University of Peking during the Republic of China era,attempted to combine the themes of Western Christian painting with Chinese painting traditions,creating religious paintings with a distinctive"Sino-Western fusion"style.These works displayed a blend of Eastern and Western elements in composition and the use of conventional visual symbols,while also reflecting the characteristics of traditional Chinese meticulous brushwork and literati ink wash painting in terms of subject matter,painting medium,techniques,and spatial arrangement.This leads to a double paradox between form and content,visual modernity and theological connotations in these paintings,due to which they were praised in the West but faced a dilemma in Republican China.This paradox reflects the tension between the pursuit of visual modernity and an attempt at inculturation in the context of semi-colonial China,as well as the complex attitudes of Chinese society towards modernity,national identity,and religious art.The work Suffering China(1943)by the missionary painter Mon Van Genechten from Fu Jen University,with its profound touch of social realism,touched upon the universal human experience of suffering,thereby transcending the boundaries of art to some extent and exploring the possibilities of localizing Christian art amidst the entanglement of"Chineseness"and"modernity."The practice of Chinese Christian painting at the Fu Jen Catholic University of Peking was not only an attempt at artistic innovation but also an important case of cultural exchange between China and the West and inculturation.

关 键 词：辅仁大学 基督教绘画 视觉现代性 神学内涵 本土化 

分 类 号：G649.29[文化科学—高等教育学] J219[文化科学—教育学]