魂归何处——回看辛亥至五四时期的中国艺术

Where Did the Souls Go? : Revisiting the Chinese Art from the Xinhai Revolution to the May Fourth Movement

有必要把五四文学同辛亥文学联系起来并扩展为五四艺术去分析。伴随政体由古典帝制向现代共和制的根本改变,现代中国艺术逐渐开始自身的现代性转变:徐枕亚的断魂之痛,苏曼殊的无魂之殇,吴昌硕的强骨向生,鲁迅的丧魂之狂语和胡适的白话文乌托邦等,相继成为辛亥至五四时段中国艺术中引人瞩目的风景带。它们的共同点之一在于要在丧魂落魄的年代为现代中国艺术寻找和建构新灵魂,尽管魂归何处仍是一个待解的疑难。

It is necessary to link the May Fourth literature with the Xinhai literature and to expand them into the May Fourth art for analysis.With the fundamental change of the political system from traditional monarchy to modern republic,modern Chinese art began its own modern transformation.For example,Xu Zhenya’s pain of soul breaking,Su Manshu’s mourning of soullessness,Wu Changshuo’s endless growth of strong spirit,Lu Xun’s madness of wounded soul,and Hu Shi’s vernacular Utopia,have successively become the spotlights of Chinese art from the Xinhai Revolution to the May Fourth Movement.They shared the common objective to seek and construct new souls for modern Chinese art in the era when people lost souls and spirits,although where the souls went remained an intractable problem to be solved.