摘要
本文从“意象油画百年”这一论说所存在的问题出发,讨论油画作为西方历史文化背景中产生的技术体系和中国艺术的关系,从中引出对“油画民族化”的质疑。作者认为“油画民族化”的提出,乃是出于民族文化的防范心理,在学术上不是一个真问题。而以古典艺术的审美追求来达到中西融合、超过西方的目的,乃是塞入了权力意图的保守主义策略,与油画的当代性无关。如果中国油画还属于当代艺术的话,就不能回避全球化背景中中国人必须面对的问题。艺术当代性的核心是问题意识。中国油画史是一部直面问题的历史而不是所谓意象化的历史。
This paper takes its departure from the discourse of “the Centennial of Intentional Painting” and discusses the technical system of painting produced out of the Western history and culture and its relation to Chinese art, thus giving rise to the interrogation of the so-called “nationalization of painting.” The author believes that the argument of nationalizing painting is not a real academic problem but an expression of the defensive psychology of national culture. The aim of achieving harmony between the East and the West and then surpassing the West by way of aesthetic pursuit of classical art is a conservative strategy stuffed with willpower and has nothing to do with the modernity of painting. If it is true that the Chinese painting belongs to contemporary art, it is also true that we must face squarely the problems we have in the context of globalization. The core of contemporary art is the awareness of problems. The history of Chinese painting is a history of facing problems directly instead of one of images.
出处
《文艺研究》
CSSCI
北大核心
2005年第8期102-107,共6页
Literature & Art Studies
