| 论肖像画的诞生:一种现代性的视角 |
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| 作者姓名： | 张巧 |
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| 作者单位： | 华南师范大学文学院 |
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| 基金项目： | 教育部青年基金项目“戴维森与当代文论的分析哲学向度研究”(18YJC751065);华南师范大学青年教师科研培育基金项目“后分析文论谱系研究”(19sk16)的研究成果。 |
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| 摘 要： | 在中西方绘画史上,肖像画发展的程度截然不同,作为西方绘画主要类型的肖像画,在中国绘画史上却没有独立的位置。可以说,“肖像画的诞生”是一个现代性事件,只有足够成熟的现代化社会才能为其提供存在的普遍性条件——自主性精神。通过比较中西肖像画所植根的文化系统,可以展现肖像画作为现代性的文化表征所包含的双重性,它既显示了其所植根的那种普遍性的条件——文化现代性,同时也展示了现代性的自主化精神在艺术中的内在化——审美现代性。可以说,肖像画作为一个特殊的艺术门类,表征了普遍的现代性精神在文化和艺术中的同源共生。
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| 关 键 词： | 肖像画 现代性 文化现代性 审美现代性 |
On the Birth of Portrait Painting:A Modern Perspective |
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| Authors: | ZHANG Qiao |
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| Institution: | (School of Chinese Language and Literature,South China Normal University,Guangzhou 510006,China) |
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| Abstract: | In the history of Chinese and Western painting,the development of portrait painting differs greatly.As the main type of Western painting,portrait painting has no independent position in the history of Chinese painting.It can be said that“the birth of portrait painting”is a modern event.Only a mature modern society can provide it with the universal condition of existence—the spirit of autonomy.By comparing the cultural system rooted in Chinese and Western portrait painting,this paper is supposed to unfold the duality of portrait painting as the cultural representation of modernity.It not only shows the universal condition rooted in cultural modernity,but also the internalization of the independent spirit of modernity in art,that is,aesthetic modernity.It can be said that the portrait painting,as a special art category,represents the symbiosis of the universal spirit of modernity in culture and art. |
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| Keywords: | portrait painting modernity cultural modernity aesthetic modernity |
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