重塑“山水”—溯源、立本与“知识型”的构想

Remolding the Chinese Lanscape Paintings:Trace back to Its Origin,Built the Essence and Conceive of an Epistemology

本文以1935年初"中国画会"会刊《国画月刊》连续推出的两期"中西山水画思想专号"为例,通过追溯中西山水画的历史起源,重申了山水画在中国画史上的首要地位,以及内含在山水中的"小我"(个体)与"大我"(家国)之间的界限及其辩证关系这一重要的思想根基和现实意义。本文认为,这对于今天如何重新审视传统之变与不变,反思现代中国的精神构造,重塑中国文化本位,借以构想一种新的普遍的"知识型",都颇具启发意义。

This paper takes two special series titled"Thoughts of Chinese and Western Landscape Paintings"published by Chinese Painting Association in its Chinese Painting Monthly in the early 1935 as examples.By tracing sources of the Chinese and Western landscape paintings,this paper reiterates the leading role of landscape paintings in the Chinese paintings,and explores the important ideological foundation and practical significance of the boundary between the"individual"(itself)and the"collective"(the country)and their dialectical relationship.It is instructive for re-examining changes of traditional Chinese paintings,reflecting on the spiritual structure of modern China,reshaping the Chinese style of culture,and building a new universal epistemology.