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关于中国画的论争,很大程度上取决于这个概念背后的“主体假定”。本文以相关争论为起点,逐步辨析了现今流行的“二元对立”的思维方式,并进而指出这种思维方式源于本质主义陷阱下的“中国主体性”之追求。而解决这一问题则取决于我们能否放下“中国性”的本质界定,并因此真正意义上面对中国画本身,而非中国画在历史中需要承担的责任、义务,抑或说是价值。
The debate on Chinese painting depends very much on the “subjective assumption” behind this concept. Based on the relevant debates, this dissertation discerns the current popular “dualism” thinking mode, and then points out that this mode of thinking stems from the pursuit of “Chinese subjectivity” under the trap of essentialism. The solution to this problem depends on whether we can let go of the essential definition of “Chinese character” and therefore genuinely confront the Chinese painting itself rather than the responsibility, obligation, or value that Chinese painting needs to bear in history.