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评判齐白石的两条史学路径——聚焦于“人民画家”说的虚构及证伪

夏中义   

  1. 上海交通大学人文学院
  • 出版日期:2019-03-25 发布日期:2019-06-11
  • 作者简介:夏中义,上海交通大学人文学院文艺学教授。主要从事中国现当代思想史案研究。
  • 基金资助:
     

Two Historiographical Approaches to Evaluate Qi Baishi: The Myth of the "People's Painter" and Its Counterargument

Xia Zhongyi   

  1. shanghai Jiaotong University
  • Online:2019-03-25 Published:2019-06-11
  • About author:Xia Zhongyi, is a professor of literary theory at Shanghai Jiaotong University. His main research interest is the study of modern and contemporary intellectual history in China.
  • Supported by:
     

摘要: 近七十年来,中国艺术史论围绕怎样评判齐白石(1864年-1957年)花鸟写意,有一显一隐地纠缠着两条路径。其中,“以论带史”“以论代史”为标识的苏式路径之特点,是在用苏联理论模式把齐白石虚构为“人民画家”,强调是齐的贫农身世造成了其绘画的民间趣味暨工笔写实(近乎“现实主义”)。其始作俑者是王朝闻,这一路径自1952年至2013年,至少绵延了六十余年,堪称显性“主流”。另一条非苏式路径之标识是“以史鉴论”“论从史出”,其要害是解构“人民画家”说,还齐白石在艺术史的本来面目,证明齐之所以成为“齐白石”,关键在其“衰年变法”(1920年-1930年),遂使其“画法”(技)从簪花工笔变为写意粗笔,其“画风”(艺)从冷逸寒鸟变为红花墨叶(温情虫草),其“活法”(道)从湘土画匠变为吴昌硕(1844年-1927年)后足以标志中国现代水墨之高峰的世纪传人。这条隐性“边缘”路径的代表是齐白石本人,其生前留下的《白石老人自传》《齐白石诗集》《谈艺录》作为非造型性文献(史料),当能启示后学从中读出另一条真正无愧于中国艺术经验的史学路径。

关键词: 齐白石, 苏联理论模式, 人民画家, 衰年变法

Abstract: Two approaches, one explicit and one implicit, exist in the past seventy years of art history to evaluate Qi Baishi's (1864-1957) flower-and-bird painting. One is the Soviet approach, which is characterized by "theory guiding history" and "theory replacing history". It frames Qi Baishi as a "people's painter", emphasizing that Qi's poor peasant family origin has resulted in his folk taste of paintings and his realistic brushwork (close to "realism"). This approach, initiated by Wang Zhaowen, lasts for at least sixty years, which can be seen as the "mainstream". The other (non-Soviet) approach is characterized by "history exemplifying theory" and "theory drawn from history", which aims to undermining the label of "people's painter," so as to return Qi Baishi back to the art history. It claims that the key to understand Qi Baishi lies in his "changes of art style in his old age" (1920-1930), during which Qi's "painting method" (technique) changes from a fine brushwork to a freehand brushwork, his "painting style" (art) changes from cold figures of birds to warm flowers with leaves, and his "life style" (Dao) changes from a Hunan local painter to a new peak of modern Chinese ink painting after Wu Changshuo (1844-1927). The representative of this implicit "marginalized" approach is Qi Bishi himself. Historical materials such as The Autobiography of Old Baishi, Collection of Qi Baishi's Poems, and Notes on Literature and Art, may illuminate a historical path that can fully demonstrate unique Chinese art experience.

Key words: Qi Baishi, Soviet approach, People's Painter, changes of art style in his old age

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