心與眼：中西藝術交互凝視中的自我身份建構和知識形成－“新文化運動”到1937年中國美術現代性進程的“跨文化語境”分析

Abstract

Why were Western paintings considered ”without stroke order” or ”lifeless” by Chinese scholars before the 18(superscript th) century? Why did the court painters/missionaries during the reign of Emperor Qianlong have misunderstandings with Chinese painters on the question of ”shadows”? Why did Chinese painters around the time of the ”New Culture Movement” define Western paintings as ”realistic”? This paper is to present the ”cross-cultural context” formed by the interflow between Chinese and Western arts from days of the ”New Culture Movement” to 1937 as well as the construction of self-identity and the formation of knowledge of modern Chinese aesthetics and art in this context. From all these things emerged two paths: the advocates of ”fine-art revolution” invoked the ”realism” and ”science” of Western painting to criticize traditional pieces, while the guardians of ”national legacy” employed Western fine art as reference framework to make a renewed legitimate statement about their own tradition and form a complicated mechanism of ”discourse-knowledge” construction. In the end, it turns out that evolution of the modernity of Chinese fine art started in the altering gazes of the Chinese ”mind nature” and the Western ”eyes.”