审美共通感与图画公共性——以民国时期美育思想与画学实践的互释为中心的考察  

The Commonality of Aesthetics and the Publicity of Paintings:Examination on the Mutual Interpretation of Aesthetic Education Thoughts and Painting Practice During the Republican Era

作　　者：吴昱苇 Wu Yuwei(School of Philosophy and Innovation Center of Yangtze River Delta,Zhejiang University)

机构地区：[1]浙江大学哲学学院、浙江大学长三角智慧绿洲创新中心

出　　处：《美术》2025年第2期62-69,共8页Art Magazine

基　　金：中国文联部级重点课题《中国沉浸式艺术发展现状与趋势研究》(项目批准号:ZGWLBJKT202409)的阶段性研究成果。

摘　　要：现代美育思想的萌芽与画学实践的“图像转向”发生在同一历史时段,民国图画的公共性诉求因“救亡图存”的公共政治自觉和感性互通的现代审美理想而得到深入理解,与之相应的,写实性、民俗性、战斗性的绘画探索则可以被视为美学意识的视觉表征。本文通过梳理蔡元培、陈师曾、李叔同、鲁迅、丰子恺等人的书信著述、社会交往、画学活动、图画作品等,力图勾勒出民国时期审美共通感与图画公共性的思想脉络,呈现画论同源、语图互生的历史情境。The emergence of modern aesthetic education thoughts coincided with the"image turn"of painting practice,and the pursuit of paintings created during the Republican Era was deeply understood due to the public political awareness of"fighting for the survival of our country"and the emotional commonality of modern aesthetic ideals.Correspondingly,the exploration of realistic and folk paintings and paintings that demonstrate the fight of the Chinese people can be regarded as the visual representation of aesthetic awareness.This article combs through the letters,books,social interactions,painting activities,and calligraphy and paintings of Cai Yuanpei,Chen Shizeng,Li Shutong,Lu Xun and Feng Zikai to outline the thoughts regarding the commonality of aesthetics and the publicity of paintings during the Republican Era,and present a historical context in which paintings and theories have the same origin and language and pictures reinforce each other.

关 键 词：美育思想 视觉文化 审美共通感 启蒙 现代性 

分 类 号：G63[文化科学—教育学]