20世纪初西学东渐中艺术的“中西并陈”路径——汪亚尘艺术理念转向的逻辑分析

On the“Coexistence of China and the West”Path in Art in the Backdrop of“Spreading Western Learning to the East”in the Beginning of the 20th Century:On the Transformation of Wang Yachen's Idea on Art

在20世纪初西学东渐语境中,艺术的“改良论”与“融合论”是两大主流思潮,而隐含于其中的“中西并陈论”却并未引起足够的认识。当时的艺术家与理论家汪亚尘是一个独特案例,他在先后倡导“改良”与“融合”后,最终选择“中西并陈”的理念,并且身体力行地以艺术创作实践对应,让我们看到一条不同于前述两条道路的第三条路径。而这条路径恰恰是我们研究20世纪初期中国艺术发展状况时未能深入的。今天学界多将汪亚尘视为“中西融合”思潮中的一员,对其“中西并陈”理念的理解并不充分甚至存在误解。本文旨在通过对汪亚尘的艺术经历及观念转变的逻辑分析,探究与还原“中西并陈”的本意。

In the context of spreading western learning to the east in the early 20th century,the“modification theory”and“fusion theory”in art were two mainstream trends,while the“coexistence theory”has not been sufficiently recognized.Wang Yachen,an artist and theorist of the time,was unique.After successively advocating modification theory and fusion theory,he embraced the coexistence theory,a third path of his own making.This third path has not attracted full scholarly attention in the study on the development of Chinese art in the early 20th century.Most scholars regard Wang as a member promoting the fusion theory,while his advocacy of the coexistence of China and the west has not been sufficiently understood.This article explores the original meaning of the coexistence theory through an analysis of the transformation of Wang's artistic experience and theory.