物派:战后艺术的东亚道路及中国启示  

Mono-Ha:the East Asian Road of Postwar Art and Its Enlightenment from China

作　　者：朱其 Zhu Qi

机构地区：[1]中国国家画院理论研究所

出　　处：《美术观察》2025年第4期91-99,共9页Art Observation

摘　　要：从19世纪后期开始,日本追随了西方艺术近大半个世纪。20世纪70年代末,正值西方由现代主义向当代艺术转型之际,关根伸夫、李禹焕、小清水渐、吉田克朗、菅木志雄等物派一代,在现成品后观念主义的背景下,开始与西方先锋派分道扬镳,以佛道哲学对物的理解为背景,将东亚哲学和艺术视角的自然物与西方的近现代哲学关于现代工业物的观念,在一般物的思想框架下作统合,发展出一套创造性的语言方法。在物的一般认识论、自然物、园林、山石等源自中国文人艺术的有关自然的现代性等议题上,提供了一个东亚艺术的语言现代性的方向性案例。对中国艺术的现代性尚未根本解决的领域,物派具有值得借鉴的启示意义。From the late 19th century,Japan followed Western art for nearly half a century.At the end of 1970s,when the West was transforming from modernism to contemporary art in 1960s and 1970s,the generation of Mono-Ha,such as Nobuo Sekine,Lee Ufan,Susumu Koshimizu,Katsuro Yoshida,and Kishio Suga,began to part ways with the Western avant-garde under the background of Postidealism-Ready made,and based on the understanding of things by Buddhism and Taoism philosophy,these artists integrated the natural things from the perspective of East Asian philosophy and art with the ideas of modern Western philosophy about modern industrial things under the ideological framework of general things,and develops a set of creative language methods.The general epistemology of things,natural things,gardens,rocks and other topics related to the modernity of nature originated from Chinese literati art provide a directional case of linguistic modernity of East Asian art.For the areas where the modernity of Chinese art has not been fundamentally solved,the Mono-Ha provides enlightening significance worthy of reference.

关 键 词：空间 场域 一般物 后观念主义 关系项 

分 类 号：J110.92[艺术—艺术理论]