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在文明高度全球化的今日,“民族性”这一概念时常被极端世界主义者嗤之以鼻,然而放眼现当代艺术领域,艺术家的创作必然的受到其身处的文化土壤的影响,从而呈现出一定的民族性特色。回望历史,“外来”与“本土”的碰撞并非首次上演。江户时代的日本,曾经出现过一股学习中国文人画传统的风尚,形成了在日本绘画史上独特的“南画”流派。然而最终其所代表的文人趣味,却并未给现代的日本艺术带来更多更深远的影响,在人们通常印象中浮世绘仍是日本传统视觉艺术风格的代表。本文将透过日本艺术史中文人趣味的兴衰演变,结合比较中国绘画与日本绘画的发展历程,浅述民族性格在文化艺术中扮演的角色。
In today’s highly globalized civilizations, the concept of “nationality” is often scoffed at by extreme cosmopolitanists. However, looking at the field of modern and contemporary art, the artist’s creation is inevitably influenced by the cultural soil in which he lives, Certain national characteristics. Looking back on history, the collision between “foreign ” and “local ” is not the first time. In the Edo period Japan, there was a trend of learning the tradition of Chinese literati painting, forming a unique “Southern Painting” genre in the history of Japanese painting. However, in the end, the literary taste it represents does not bring more and far-reaching impact to modern Japanese art. In the ordinary impressions, Ukiyoe is still the representative of Japanese traditional visual art style. This article will discuss the development of the Chinese people’s interest in Japanese art history by combining the development of Chinese painting and Japanese painting, and discuss the role of national character in culture and art.