差异、误读与浅层搁置——现代性知识话语论域中文人画研究的“别样”异声

Differences, Misreading and Stranding——The Different Interpretation in Studying Literati Paintings

20世纪西方汉学家、艺术史家在建构中国艺术史过程中大都将文人画擢升为中国绘画艺术最高境界的代表,美国学者厄内斯特·费诺罗萨(Ernest Francisco Fenollosa, 1853-1908)则是独立特出的一位。他以哲学家的视角切入中国艺术,在东西艺术交流的宏大视野中,以"空间(spacing)"这一中西视觉艺术共有的感型特征衡量中国绘画,极力贬抑文人画,褫夺了文人画在现代性知识话语论域中的翘楚地位,甚至试图将其从正统画史中排除。他在基督教文明的立场上,由全面否定儒家文化体系而否定文人画,推翻文人艺术理论,将文人画诗、书、画结合的出位思致浅层搁置。费诺罗萨对文人画的迥异处理方式反映了西方现代性知识话语模式与中国独特绘画艺术的深层不可通约性所造成的文化误读。相比同一时期西方学者对中西艺术表层通约性的推重,费诺罗萨的误读与浅层搁置具有更大的学术价值与启发意义。

While constructing the history of Chinese art in the 21th century,most western sinologists and art historians considered the literati paintings to the highest representative of Chinese paintings.However,Ernest F.Fenollosa was different.He philosophically observed Chinese art,and evaluated Chinese literati paintings in terms of the principle of spacing against the background of the art exchanges between the east and the west.He degraded to the maximum the paintings of men of letters,deprived them of the leading status in the western academic circles,and tried to exclude them from the history of orthodox paintings.To achieve this goal,he negated entirely the Confucian cultural system from the standpoint of the Christian civilization,and further negated the position of literati paintings;he demolished the theories concerning the literati art,which resulted in his misreadings of literati paintings.His different opinions reflects the misreadings of incommensurability between the modes of discourse in the west and the unique literati paintings in the east.Fenollosa’s misreadings is of a higher academic value and significance than those of other scholars.