西方绘画现代性的三重路径——兼论绘画现代性的中国路径  

Triple Pathways of Modernity in Western Painting:A Concurrent Exploration of Chinese Pathways

作　　者：李梦蝶 刘剑 LI Mengdie;LIU Jian(College of Fine Arts,East China Normal University,Shanghai 200241,China;Art College,Guizhou University,Guiyang 550025,China)

机构地区：[1]华东师范大学美术学院,上海200241 [2]贵州大学美术学院,贵阳550025

出　　处：《上海大学学报（社会科学版）》2024年第4期135-144,共10页Journal of Shanghai University(Social Sciences Edition)

摘　　要：西方绘画的现代性问题由主体性、本体性和语言性三重路径交汇而成:首先,画家的主体地位需得到确认,西方从文艺复兴到浪漫主义,解决了大写的人和画家自身的主体性问题,体现为天才为艺术立法。其次,绘画的本体自觉才能保证绘画自身的现代性,从夏尔·巴托到塞尚解决的是大写的艺术和绘画自身的本体自律问题。最后,绘画的现代性要落实到绘画语言上,从印象派开始的现代主义绘画运动是形式语言不断演进和张扬的过程。以这三者作为基本框架,可为中国式现代化的绘画问题带来启示。The concept of modernity in Western painting is shaped by three intersecting pathways:subjectivity,ontology,and linguistics.Firstly,acknowledgment of the painter’s subjective status is essential,which addressed the predicament between grand narrative of humanity and the artist’sown subjectivity from the Renaissance to Romanticism in the West,as was epitomized by the notion that genius artists legislate for art.Secondly,the awareness of the ontology of paintings is crucial for its modernity,which addressd the predicament between the capitalized art and the ontological autonomy of paintings,as was evidence in figures from Charles Batteux to Paul Cézanne.Lastly,the modernity of painting must be reflected in its visual language.The Modernist painting movement,starting with Impressionism,has been a process of continuous exploration and expansion of formal language.A framework based on the three pathways offers valuable insights into Chinese pathways of modernity in painting.

关 键 词：西方绘画 现代性 主体性 本体性 语言性 

分 类 号：J202[艺术—美术]