现代美育话语建构中的早期中国“艺术摄影”

Early Chinese“Artistic Photography”in the Construction of Modern Aesthetic Education Discourse

20世纪初期,以蔡元培为首的美育家在借鉴西方美学思想的同时,还曾对中国传统美学资源进行选择性的继承和改造,并在融合中西的基础上实现现代美育话语的本土化建构。同时,蔡元培试图通过筹建一个系统完整的现代美育工程,来完成所谓的国民性改造。而当时尚处于起步阶段的摄影艺术(主要是“艺术摄影”或者说“画意摄影”)作为艺术教育的重要路径之一,也被纳入现代美育工程建设之中。“艺术摄影”则通过对传统文人画学的延续和传播,实现着现代美育对传统美学资源的继承和现代转化。只不过当时的“艺术摄影”还带有明显的从传统向现代的过渡色彩,所应承担的感性创造功能尚未得到充分发挥,其对现代美育话语建构的深度参与不免受限。

In the early 20th century,the aesthetic educators led by Cai Yuanpei adopted the western aesthetic ideas for reference,and also selectively inherited and transformed the Chinese traditional aesthetic resources,and realized the localized construction of modern aesthetic education discourse on the basis of integrating Chinese and Western aesthetics.At the same time,Cai Yuanpei tried to fulfill the so-called national transformation by constructing a systematic and complete modern aesthetic education project.In its infancy at that time,photography art,mainly referred to“artistic photography”or“pictorial photography”,was also involved in the construction of the modern aesthetic education project as one of the important ways of art education.Through the continuation and dissemination of traditional literati painting,“artistic photography”realized the inheritance and modern transformation of traditional aesthetic resources by modern aesthetic education.However,“artistic photography”at that time still had an obvious transitional tendency from traditional to modern,and its perceptual creation function had not been fully exerted,so its deep participation in the construction of modern aesthetic education discourse was inevitably limited.