以“西天”法释西洋画——明清“二西”语境下“西画东渐”史的一个现象考论

Explanation of Sfumato to the Western Painting:The Phenomenon on the History of the Eastern Studies Introduced to the West in the Context of Sfumato and the Western Painting During the Ming and the Qing Dynasties

明清时期的“二西”语境,涵盖“西洋”和“西天”两个层面,在这种语境下,明清时人将西洋画的立体感与“凹凸花”联系起来,将西洋画的阴影法溯源到“天竺遗法”,产生了以“西天”法释西洋画的现象。这种现象是明清之际“西学中源”思潮的一个表征,其根源在于“夷夏之防”的民族文化心理以及“执古语今”的阐释传统。以“西天”法释西洋画作为一个学术史案例,对当下的学术研究具有一定的警示作用,即应尽量避免在西方绘画体系的“阴影”之下阐述中国绘画美学问题。

The context of sfumato and the western painting in the Ming and Qing Dynasties includes two aspects,i.e.the west of the world and India.In this context,the stereoscopic sense in the western painting was connected with the concave-convex flowers,and then shadowgraph in the western painting was traced back to sfumato,in which the western painting was used to explained.The phenomenon is a symbol which shows the thoughts of“western sciences mirroring Chinese origin”during the Ming and Qing Dynasties with the roots of national cultural psychology of Chinese national reverence and the interpretation tradition of holding on the old to master the present.The academic case of the interpretation of sfumato to the western painting shows the warning to the current academic research,and that the interpretation for Chinese painting should be avoided with the shadowgraph in the western painting system.