西方再现“魔法”失效与中国绘画作为“他者”参照之关系研究

A Study on The Relationship between the Failure of “Magic” Representation in Western Art and the Reference of Chinese Painting as “the Other”

自普林尼时代以来,模仿再现一直是西方艺术传统的核心问题,图像再现因精确逼真引出“自然魔法”与“艺术魔法”之争。西方艺术在由传统走向现代的过程中,艺术家与自然、艺术的关系问题日渐凸显,模仿再现的感觉神话在科学技术的冲击下渐次失效,艺术家的主体性问题日益突出,以主观表现为核心的价值神话逐渐生成,并与西方世界制度化的价值相协调。中国绘画在这一言说方式的转换中,充当西方学者的异域参照与他者脚注,是西方艺术与其制度化价值调适的后果。

Since the time of Pliny, the problem of imitation and reproduction has been the core of the western art tradition. Image reproduction has led to the dispute between “natural magic” and “artistic magic” because of its precision and verisimilitude. In the process of the western art moving from tradition to modernity, the relationship between artists and nature and art has become increasingly prominent. Under the impact of science and technology, the imitation and reproduction of the myth of feeling has gradually become ineffective, the subjectivity of artists has become increasingly prominent, and the myth of value with the subjective expression as the core has gradually emerged and is in harmony with the institutionalized value of the western world. Chinese painting serves as a foreign reference and footnote for western scholars in this transformation of discourse mode, which is the result of the adjustment of Western art and its institutionalized value.