重审20世纪中国仿古山水画研究——一条符号学路径  

Reexamining the Study of 20th-Century Chinese Imitative Landscape Painting:A Semiotic Approach

作　　者：刘津 陆正兰 Liu Jin;Lu Zhenglan(of Literature and Journalism,Sichuan University)

机构地区：[1]四川大学文学与新闻学院 [2]四川大学符号与传媒研究所

出　　处：《符号与传媒》2025年第1期110-124,共15页Signs & Media

基　　金：国家社科基金重大项目“中华文化经典符号谱系整理与数字人文传播研究”(23&ZD212)中期成果。

摘　　要：中国仿古山水画创作是中国绘画传统中的特殊复古现象。自20世纪以来,对其价值的研究褒贬不一。从符号学的意义理论出发,重审20世纪以来的仿古山水画研究,可以归纳学界研究中的两种观点与解释偏向:一种观点将仿古山水画视为艺术创新的桎梏,将其批评为机械模仿传统、缺乏创造力的摹古实践,强调仿古作品在特定政治与文化语境中的工具性意义;另一种观点则立足于重释传统的立场,探讨仿古画作在社会语境中的多重功能及其内在的艺术价值,重新肯定其作为艺术传统的重要组成部分。20世纪以来学界对仿古山水画的研究可以揭示出仿古艺术在不同历史语境下本体意义与解释意义的互动关系,进而为理解这一现象在当代艺术理论与实践中的重要性提供学理性启示。The creation of Chinese imitative landscape paintings represents a distinctive phenomenon of retrospection within the tradition of Chinese painting.Scholarly evaluations of their value,however,have been deeply polarized since the 20th century.Adopting the lens of semiotic theories of meaning,this study reexamines the existing research on imitative landscape paintings and identifies two predominant scholarly viewpoints.On one hand,critics argue that such works constrain artistic innovation,characterizing them as mechanical reproductions of tradition that lack creativity.This perspective often highlights their instrumental role within specific political and cultural contexts.On the other hand,proponents of a reinterpretation of tradition emphasize the multifaceted functions of these imitative works within their social contexts.They argue for their intrinsic artistic value,recognizing them as integral to the artistic tradition.Furthermore,research on imitative landscape paintings since the 20th century underscores the dynamic interaction between their ontological meaning and interpretative significance across various historical contexts.These findings offer valuable theoretical insights into the broader understanding of this phenomenon in contemporary art theory and practice.

关 键 词：仿古山水画 仿古实践 先后文本 艺术符号学 

分 类 号：J21[艺术—美术]