传统士人与现代艺术场域的 相遇:黄宾虹的三次“被”发现

The Encounter Between Traditional Scholars and Modern Art Field:Huang Binhong’s Three Times of“Being”Discovered

随着科举制的废除,传统士人开始与现代艺术场域相遇。通过对士人黄宾虹在现代艺术场域三次“被”发现过程的梳理,本文发现,中国近现代艺术发展呈现出与西方“审美自律性”不同的取向:在接受层面上,艺术场域受政治、学术、经济场域的影响;在艺术创作上,黄宾虹坚持“文以载道”的主张,以“超越性”的方式化解了西方艺术社会学在“审美自律性”与社会语境化之间的矛盾。士人艺术家完整而独立的人格使中国艺术场域呈现出不同于西方艺术场域的特征:首先,“败者为胜”现象根源于文化逻辑而非经济逻辑;其次,随着社会职业分工的发展,艺术场域尝试重构乃至窄化士人身份,但士人依然可以借助独特的中介者,在双向互动中影响中国艺术场域的发展。

By combing through the process of scholar Huang Binhong’s three times of“being”discovered in the field of modern art,this study finds that the development of Chinese and Western art presents different orientations in their transition from tradition to modernity.The West regards“aesthetic self-discipline”as the symbol of modern art,while Chinese art always emphasizes its sociality.For social acceptance,art arena is always subjected to politics,academic opinions,and economic interests.The three times of Huang Binhong“being”discovered,political,academic,and economic factors all play an important role that can not be ignored.The generalist and independent quality of Chinese scholar-artists marks the difference between the Chinese and the Western art field.First,Bourdieu’s“loser wins”phenomenon would be seen by scholar-artists such Huang Binhong as rooted in cultural logic rather than in economic logic in the West.Second,with the development of occupational specialization in modern China,the generalist quality of scholar-artists tends to give in to more specific professional identities such as“painter”.Nevertheless,scholar-artists,with the help of unique intermediaries,continue to exert their influence on the Chinese modern art in a two-way interaction with the art field.