“国画”概念的产生及其流变--以民国前期的美术为例

Genesis and Evolution of the Concept "Chinese Painting" :the Art of the Early Republican China

"国画"概念最初是伴随着民族国家的建立而产生的,但在命名的过程中,既存在着国家权力对本土艺术的收编以及话语权的介入,又有着对于多元文化的碾压和遮蔽。同时,"国画"的内涵——诸如画家身份、笔墨意义、艺术功能等等,也都随着"国画"概念外延的拓展而改变。就民国前期的美术而言,面对西方这一文化他者,各派美术实验所蕴含的"中体西用"或"以西革中"的立场进一步凸显,呈现出一种在时间维度与空间向度上的现代性错位。而在长期的话语阐释中,"国画"概念本身也逐渐被创造和填充了更多复杂的意义,从而共同丰富着对于"国画"的多重定义。

The concept ＂traditional Chinese painting＂ was originally a by-product of the establishment of a national state. In the process of naming, there existed an intervention of state power and a repression of cultural diversity. At the same time, concepts related to ＂traditional Chinese painting＂, such as the artist＇s identity, ink, the artistic function of Chinese painting, were also changed with the expansion of the concept ＂Chinese painting＂. In the early Republican China, when the West stood out as the other, the positions of ＂the Westernized Chinese style＂ or ＂the Sinicized Western style＂ underpinning experimental arts were further highlighted, showing the dislocation of modernity on the temporal and spatial dimensions. In the long-term discourse interpretation, the concept of ＂traditional Chinese painting＂ gradually took on more complex meanings, thus contributing to the multiplicity of its definitions.