迂回的艺术史观——吴冠中《北国风光》的媒介疆域与文化间性

A Detour of Art History:Medium Boundaries and Interculturality in Wu Guanzhong’s Northland Scenery

主体间性理论观照下的艺术媒介及美学转译实践,为线性历史观导致的艺术终结论提供了另一条迂回路径的可能。文章以火车为线索,剖析吴冠中在《北国风光》的创作中试图将山水画的意境引入油画媒介所反映的跨语际艺术本体观。《北国风光》中火车与长城在造象上的混杂性可追溯至晚清《点石斋画报》中对巨龙的写实刻画,不同的是吴冠中所颠覆的写实欲望展现了风景内面的主体视线。火车在中西艺术史中具有不同意义的现代视觉经验,火车进入中国艺术创作中后促使山水在现代风景中可视。《北国风光》的实验性在于揭示了作为中国文艺高峰的文人画回应西方现代艺术知识的另一种叙事可能性。红色山水召唤的革命主体象征着传统与现代的历史性断裂,而吴冠中则通过笔墨山水和油画风景的跨媒介艺术实践,抵达共时性的现代艺术知识的历史现场。

The art medium and the practice of aesthetic translation under the intersubjectivity theory view offer the possibility of an alternative detouring path to the end of art history resulting from a linear historical view.Taking the train as a clue,this paper analyzes Wu Guanzhong’s translingual artistic ontology reflected in his attempt to introduce the aesthetic concept of ink-brush landscape into the medium of oil painting in the creation of Northland Scenery.The hybridity in the image-making of the train and the Great Wall in Northland Scenery can be traced back to the realistic portrayal of the giant dragon in the late Qing Dynasty’s Dian-shi-zhai Pictorial,with the difference that the desire for realism that Wu Guanzhong subverts reveals the subjective vision within the landscape.The governance of modern visual experience by trains has a different significance in the history of Chinese and Western art,and the entry of trains into Chinese artistic creation has prompted the visibility of modernink-brush landscapes.The experimental nature of Northland Scenery lies in revealing the alternative narrative possibilities of literati painting as the peak of Chinese literature in response to Western knowledge of modern art.While the revolutionary subject summoned by the Red Landscape symbolizes the historical rupture between tradition and modernity,Wu Guanzhong arrives at the historical synchronicity of modern art knowledge through the transmedia artistic practice of ink-brush and oil painting landscapes.