执拗的低音:民初画学整体直观的认识取向——以梁漱溟、屠孝实、宗白华为例

The holistic view of painting studies in the early period of the Republic of China:a case study of Liang Suming,Tu Xiaoshi and Zong Baihua

在民初新旧转换的过渡时代,逐渐占上风的画学“新”学术典范,是分析的方法,即将整体的对象“打碎”,分为各个部分进行考察,并在“科学”话语的加持下逐渐成为居于主导地位的一种“正确”论学方式。然而,梁漱溟、屠孝实、宗白华等却提倡与此相反的“旧”学问的认识取向:直观,即以整体、全知全受的方法,通过受众的观览和生命力的直觉感受来阐释艺术。当时这种挑战“新”学术典范分析方法的“旧”学的认识取向,借助19世纪末西方对于科学理性的反思和机械论的批判背景下的叔本华、伯格森等生命哲学的新趋向,从“西方看中国”,重新阐释作为经籍统系的中国传统艺术,反映了过渡时代的学术大转向,也凸显民初画学界新旧并存甚至竞存的繁复、丰富程度超出了以往的认知。

In the early period of the Republic of China,a new research paradigm began to carry the day.Borrowing the prevailing concept of science,it“broke”the study object and examined the“pieces”,thus a“scientific and correct”method.However,Liang Suming,Tu Xiaoshi and Zong Baihua advocated the traditional method:the holistic view.It interpreted arts on the basis of the audience’s observation and their personal experience.This method borrowed the reflection on science and rationality and the life philosophy of Schopenhauer,Bergson,thus a western perspective of China.The juxtaposed views showed that the degree of contention of schools of thought might be much higher than we had thought.