叙述·观念·话语--现代性知识话语论域“中国风”的三种叙述方式

Narrative,Idea and Discourse:Three Narrative Modes of Chinese Style in the Discourse of Modern Knowledge

在17-18世纪中西文化交流中,"中国风"以强劲之势席卷了英法等欧洲国家,同时也促成了欧洲世界对中国形象的集体再想象。20世纪的西方汉学家、艺术史家在撰写中国艺术史的过程中,面对中西方翻转了的文化势差和影响格局,徘徊在西方中心主义与反西方中心主义之间,对"中国风"采取了三种不同的叙述方式:正叙述、反叙述与空白叙述。三种叙述方式包含了西方学者对历史上中国文化的西方影响以及中国艺术成功实现他国化的认同、否认与回避态度,体现了叙述者的文化逻辑以及被叙述者在"凝视"机制下的镜像特征。

During the cultural exchanges between China and the West in the 17th and 18th centuries,the“Chinese style”swept through European countries such as Britain and France with a strong momentum.This popularity of Chinese art style also contributed to the collective re-imagination of Chinese image in the European world.In the face of the reversed cultural difference and influence pattern between China and the West,Western sinologists and art historians of the 20th century wandered between Western Centrism and Anti-Western Centrism,and adopted three different narrative methods:positive narrative,negative narrative and blank narrative.The three narrative modes include Western scholars recognition,denial and avoidance of the influence of Chinese culture on the West in history and the successful foreignization of Chinese art,and embody the cultural logic of the narrator and the mirror features of the narrated under the“gaze”mechanism.