摘要
中国视觉现代性的发生,伴随着时人观看方式的深刻变革。作为最早在国内系统接受西方写生训练的艺术先驱之一,丰子恺学习写生的经历完整地呈现了从传统视觉范式向科学视觉体系的转型轨迹。在此过程中,传统基于个体主观经验的视觉感知模式,被逐步转化为以数学、生理学和光学为基础的科学视觉体系。写生所形塑的观看方式,与当时中国社会的现代化进程密切相关。新形成的“观察者”既在启蒙话语的框架下形成独特的观看之道,同时也试图通过视觉的方式塑造现代国民。在探究写生与中国视觉现代性关系的同时,“美术革命”和美育运动的视觉启蒙逻辑也将得到重新审视。
The emergence of Chinese visual modernity was accompanied by profound transformations in contemporary modes of seeing.As one of the earliest artistic pioneers in China to systematically undergo Western training in sketching from life,Feng Zikai’s sketching experience vividly encapsulates the transition from traditional visual paradigms to a scientific visual system.This process gradually transformed the traditional mode of visual perception—rooted in individual subjective experience—into a scientific visual system based on mathematics,physiology,and optics.The way of seeing shaped by sketching from life was closely intertwined with the modernization of Chinese society at the time.The newly formed“observer”not only developed a distinctive way of seeing within the framework of Enlightenment discourse but also sought to shape modern citizens through visual means.While exploring the relationship between sketching from life and Chinese visual modernity,this study re-examines the visual enlightenment logic inherent in the“Art Revolution”and the aesthetic education movements.
作者
王嫣慧
Wang Yanhui(Beijing Normal University)
出处
《美术》
北大核心
2025年第5期15-23,共9页
Art Magazine
基金
2024年国家社会科学基金重点项目《中国风景美学的问题谱系与理论建构研究》(项目批准号:24AZW003)的阶段性研究成果。
关键词
视觉现代性
观察者
写生
知觉
丰子恺
visual modernity
observer
sketching from life
perception
Feng Zikai
