启蒙与自觉——再论中国美术现代性的建构

Enlightenment and Self-consciousness: Re-discussion of the Modernity of Chinese Fine Art

第一,避开中西文化二元对立的话语模式,在技术性语言上寻找现代转型的新路径,注意新知识在新语境中如何"融洽贯通"。第二,在语源学层面上,探究"西艺"与"美术"的意义内涵及其传播问题,由此涉及美术学最初的体系建构及内部的分化轨迹。第三,在西学启蒙的历史维度上,以明万历年翻译《几何原本》为案例,建立利玛窦时代与洋务运动之间的历史关联,在知识层面上提出"平行转译"的新概念。第四,分析几何图形的视觉元素,讨论其形式规则及所产生的新认知,进而触及中西之间不同的造型观念、观看方式与空间意识,在图像文本的转译上论"会通"与"会意"。第五,强调文化的主体性及人的自觉,并针对1840年之前特定历史阶段,提出"大场域/小话题"的研究方案,在话语框架上对接洋务派的"中体西用"。

First, the discourse pattern of the binary opposition of Chinese and western culture is avoided to look for a new path of modern transformation in technical language and enable the new knowledge to digest in a new context. Second, this paper explores the meaning and communication issues of "western technology" and "fine arts" on an etymological level, thus discussing the initial system construction of fine arts and its internal differentiation trajectory. Third, on the historical dimension of the enlightenment of western learning, the Euclid’s Elements translated during the Wanli Period in the Ming Dynasty is selected as an example to investigate and establish the historical connection between the times of Matteo Ricci and the Westernization Movement and put forward the new concept of "parallel translation" from a knowledge standpoint. Fourth, it analyses the visual elements of geometric figures and discusses their formal rules and new cognition generated, so as to extend to different modelling concepts, viewing modes and spatial consciousness between China and the west and discuss the "thorough understanding" and "interpretation" in the translation of the graphical text. Fifth, the subjectivity of culture and human selfconsciousness are emphasized. Aiming at a specific historical stage before 1840, this paper proposes the research program of "large field and small topic" to connect the idea of "Western Exploitation on Chinese System" of Westernizers in the discourse framework.