Genesis and Evolution of the Concept

Abstract

Abstract: The concept "traditional Chinese painting" was originally a by-product of the establishment of a national state. In the process of naming, there existed an intervention of state power and a repression of cultural diversity. At the same time, concepts related to "traditional Chinese painting", such as the artist's identity, ink, the artistic function of Chinese painting, were also changed with the expansion of the concept "Chinese painting". In the early Republican China, when the West stood out as the other, the positions of "the Westernized Chinese style" or "the Sinicized Western style" underpinning experimental arts were further highlighted, showing the dislocation of modernity on the temporal and spatial dimensions. In the long-term discourse interpretation, the concept of "traditional Chinese painting" gradually took on more complex meanings, thus contributing to the multiplicity of its definitions.

Key words: traditional Chinese painting, national state, ink, modernity

Xiong Yiran. Genesis and Evolution of the Concept "Chinese Painting" — the Art of the Early Republican China[J]. Theoretical Studies in Literature and Art, 2017, 37(1): 47-57.

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(1)目前所知近代最早使用“国学”一词者有三。“其一,1902年秋梁启超在日本谋划《国学报》,曾和黄遵宪函商,希望由他俩人加上马鸣分任其事。黄遵宪则建议撰写《国学史》。其二,1902年罗振玉赴日本考察,在所撰《扶桑二月记》中使用了‘国学'的概念。其三,据说1900年王均卿、沈知方、宋雪琴等人在上海创立国学扶轮社”。桑兵:“晚晴民国时期的国学研究与西学”,《历史研究》1996年第5期,第30页。
(2)主要包括《良友画报》1931年第61期对高奇峰国画的刊登。《文华》1929年第1期对李卿南、陆小曼国画的刊登;《文华》1933年第42期对任伯年国画的刊登;《文华》1934年第52期对柳子谷国画的刊登、第53期对陆廉夫国画的刊登。
(3)主要包括《太平洋画报》1926年第1卷第3期对张念生、张宜生以及潘天寿、俞剑华等的“国粹画”的刊登。《良友画报》1927年第13期的“国粹画”。
(4)“假使我国民族性尚未完全堕落,具有一线生机者,对于此种运动,不论在位在野,都应起而匡正之,赞助之,参加之”。王济远:“第八届美展感言”,《上海画报》1927年第290期,第3页。
(5)按发表时间排列,这类文章大致包括:刘开渠:“现在的国画”,《晨报副刊》1925年第114期;楞定:“谈国画”,《文华》1930年第9期;程小青:“国画的将来”,《金刚钻月刊》1934年第1卷第8期;王显诏:“批评者应有的态度和国画的创新”,《艺风(杭州)》1934年第2卷第9期;顾一尘:“从新国画谈到我所理想的现代国画”,《艺风(杭州)》1935年第3卷第7期;俞剑华:“国画的出路”,《艺风(杭州)》1936年第5—6期;经亨颐:“何谓国画”,《中央周刊》1936年第42期;于非厂:“国画是什么?”,《舆论周刊》1937年第1卷第8期;简又文:“介绍画家方人定兼谈谈新国画”,《逸经》1937年第25—36期;苏民生:“国画的现状及其将来”,《舆论周刊》1937年第1卷第8期;印提:“漫谈国画”,《红茶》1938年第4期。
(6)“‘国粹',这20世纪初年风行一时的新名词,本非中国所固有,而是舶之于日本。黄节在《国粹学社发起辞》中说:‘国粹,日本之名辞也。吾国言之,其名辞已非国粹也'。可见,晚清国粹派的出现,最初是受到了日本的影响”。郑师渠:《晚清国粹派:文化思想研究》(北京:北京师范大学出版社,1997年),第1页。
(7)“现代知识分子则如社会学家云,是‘自由浮动的'(free-floating)”。余英时:《中国文化的重建》(北京:中信出版社,2011年),第34页。
(8)此处借用了维特根斯坦的家族相似性理论(Family Resembalance)。他认为范畴的成员不必具有该范畴的所有属性,而是一组家族相似关系,即一个成员与其他成员至少有一个或多个共同属性。

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Genesis and Evolution of the Concept "Chinese Painting" — the Art of the Early Republican China

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