费诺罗萨“浓淡”(Notan)艺术概念的跨文化旅行  

On the Cross-cultural Travel of Fenollosa's Concept of“Notan”

作　　者：李雪[1] 李庆本[1] LI Xue;LI Qingben(Li Shutong College of Aesthetic Education,Hangzhou Normal University,Hangzhou 311121,China)

机构地区：[1]杭州师范大学李叔同美育学院,浙江杭州311121

出　　处：《美育学刊》2025年第2期67-74,共8页Journal of Aesthetic Education

基　　金：国家社会科学基金重大项目“百年欧美汉学家中国美学学术史研究”(23&ZD300)的阶段性成果。

摘　　要：恩内斯特·费诺罗萨构建了一个以“线条、浓淡、色彩”三个艺术形式要素为核心的跨文化的艺术批评体系。在这个体系中他使用东方画论中的浓淡(Notan)替换了原先使用的西方画论中明暗(shade)概念。源自中国传统画论中墨色的“浓”与“淡”对比,经由日本水墨画的“濃淡”概念作为中介,被费诺罗萨采纳并转化为“Notan”这一艺术概念。与此同时,费诺罗萨赋予了它新的生命力,使之在西方艺术界得到广泛传播和认可。费诺罗萨所阐释的浓淡(Notan)作为一个跨文化体系中的概念可以同时评价东西方艺术,从而有助于弥合不同文化背景下艺术实践与理论之间的差异。Ernest Fenollosa constructed a cross-cultural art criticism system with three elements of art form“Line,Notan and Color”as the core.In this system,he replaced the originally used concept of shade from Western painting theories with Notan from oriental painting theories.The contrast between“dark(浓)”and“light(淡)”in traditional Chinese painting theory,through the concept of“notan(濃淡)”in Japanese ink painting as an intermediary,was adopted by Fenollosa and transformed into the art theory of Notan.At the same time,Fenollosa gave it new vitality and made it widely spread and recognized in the Western art world.As a concept in a cross-cultural system,Notan explained by Fenollosa can evaluate the art of the East and the West at the same time,thus helping to bridge the differences between artistic practice and theory in different cultural backgrounds.

关 键 词：费诺罗萨 浓淡 明暗法 跨文化 

分 类 号：J05[艺术—艺术理论]