中国古代书画在日本的裁切与重构  

Cutting and Reconstruction:Ancient Chinese Painting and Calligraphy in Japan

作　　者：褚旭 赵熙淳 Chu Xu;Zhao Xichun

机构地区：[1]中国美术学院艺术人文学院 [2]中国美术学院

出　　处：《美术观察》2024年第10期97-99,共3页Art Observation

基　　金：2021年度国家社科基金艺术学重大项目“汉字传承与创新设计研究”阶段性成果,项目编号:21ZD26。

摘　　要：传入日本的中国古代书画往往经历着从物质形态到意涵的重组与阐发,以及在日本文化脉络中的重新定位与定义。特别是桃山时代以后,为适应茶道中茶挂的观赏与“手鉴”的制作方式,日本鉴藏家往往将中国书画从手卷改为立轴,甚至裁切成残篇断简,显示出与中国艺术传统中卷轴书画往往“如同年轮般一圈一圈地生长”截然不同的状态。因此,将中日观赏者对中国书画的“改造”及其背后观念,放置在比较视野下进行研究,不仅使得两国艺术传统更为明晰,突破以往研究在域外寻找“中国元素”的简单路径,而且可以成为我们观察中国艺术域外传播一般性规律的重要窗口。Ancient Chinese painting and calligraphy that were introduced to Japan underwent significant reorganization and reinterpretation,as well as reorientation and redefinition within Japanese culture.Especially after the Momoyama period(1573-1603),in order to adapt to the appreciation of tea hangings in the tea ceremony and the production method of"Kohitsurui-tekagami"(hand-held viewing devices),Japanese collectors often altered Chinese painting and calligraphy from handscrolls to hanging scrolls,removed signatures and seals,and even cut them into fragments,displaying a state entirely different from the traditional Chinese art of scroll painting and calligraphy,which often"grows like tree rings."Therefore,placing the"transformations"of Chinese painting and calligraphy by Chinese and Japanese viewers and the concepts behind them under a comparative perspective for research not only makes the artistic traditions of the two countries clearer in comparison,breaking through the simple path of seeking"Chinese elements"in foreign cultures in past research,but also can become an important window for us to observe the general laws of the overseas spread of Chinese art.

关 键 词：古笔切 鉴藏者 改造 观念 

分 类 号：J212[艺术—美术]