“知识折叠”与历史的“千层酥”——20世纪20年代全球语境中的“传统”与“西方”  

“Knowledge Folding”and“Mille-feuille”of History:“Tradition”and“West”in the Global Context in the 1920s

作　　者：杭春晓[1] Hang Chunxiao

机构地区：[1]中国艺术研究院美术研究所

出　　处：《复印报刊资料（造型艺术）》2023年第4期3-21,共19页PLASTIC ART

摘　　要：蔡元培1921年访欧,为20世纪20年代的中国美术打开了一扇新的大门。基于一战后欧洲思想之转变,蔡氏获得了全新的西化视角——无须否定自我的现代方向。虽然这种思潮隐含了中西双方的相互误读,却也生动诠释了全球化语境之下,中国传统与西方现代摆脱二元对立的宿命,在整体性的世界概念下获得“知识折叠”的契机。本文以此为基点,进一步探讨了个人史视角下的全球史与区域史的关系。Cai Yuanpei’s visit to Europe in 1921 opened a new door for Chinese art in the 1920s.Changes in European thoughts after the World War I gave Cai a new perspective regarding westernization—a modern direction without self-denial.Although this trend implied a mutual misunderstanding between China and the west,it also represented the destiny of Chinese traditions and western modernity getting rid of binary opposition in globalization and gaining an opportunity of“knowledge folding”under the concept of a holistic world.Based on this,this paper further explores the relationship between global history and regional history from the perspective of personal history.

关 键 词：蔡元培 全球化 中西美术 文化主体 知识折叠 

分 类 号：J209.2[艺术—美术]