从“八五新潮”到图像-资本时代——论守望丹青与中国书画家的博物学知识学养

杨乃乔

从“八五新潮”到图像-资本时代——论守望丹青与中国书画家的博物学知识学养

杨乃乔

复旦大学

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出版历程
- 收稿日期: 2018-08-23

From the “1985 New Wave” to the Age of Image-Capital: On Protection of Chinese Painting and Self-Cultivation and the Acquisition of an Encyclopedic Knowledge of Art by Chinese Painters and Calligraphers

YANG Naiqiao

Fudan University

摘要

摘要: “1985”是“文革”终结后中国当代文学艺术走向繁盛的一年，也正是在这一年，上海人民美术出版社启动了《黄宾虹画集》与《黄宾虹书简》的出版工作。书画家邓明作为编辑因参与此项出版工作，生成了“用古人笔墨为古人造像”的艺术观念, 并为此坚守了32年，从保守到前卫，最终推出了中国断代图像美术史《守望丹青》。从“伤痕文学”“反思文学”“寻根文学”到“八五新潮”，再到后新时期当下的图像-资本时代，从本质上评判，文学与艺术始终是处在一个共同的历史语境下推动着诸种思潮的发展；然而多年来，学科壁垒的划分却导致文学与艺术诸门类闭锁在各自的领域孤独地言说，以至这种研究的狭隘性把文学艺术本然共享的整体历史背景解构得支离破碎。笔者以“八五新潮”为历史坐标，借助一个历经32年不变的水墨观念做参照，以静观动，旨在透视与诠释晚近40年新时期与后新时期中国当代文学艺术发展所经历的喧哗与躁动，并且着重分析在图像-资本时代艺术市场所遭遇的困境，指出当下中国美术界在相当的程度上被资本所操控，艺术的非功利性审美本质被颠覆，因此书画家能够自觉地抵抗资本与拥有博物学知识学养是一种难得的纯粹与高贵。
- 黄宾虹 /
- “八五新潮” /
- “用古人笔墨为古人造像” /
- 图像-资本时代 /
- 灵韵 /
- 观念艺术。
Abstract: The year 1985 witnessed the first blossoming of contemporary Chinese literature and art since the end of the Cultural Revolution.In 1985, Shanghai People's Fine Arts Publishing House began to arrange for the publication of Collected Paintings of Huang Binhong and Letters of Huang Binhong.While working as an editor on the project,the calligrapher and painter DENG Ming conceived the idea of"using the method of the ancients'ink and wash to draw a picture for the ancients,"and was going to follow it through in the next thirtytwo years.From conservativism to avant-gardism,DENG's idea was given contrasting labels as the tide turned;it finally materialized in A History of One Hundred Great Masters:Chinese Ink and Wash Painting,a period image history of Chinese painting.From "Scar Literature," "Reflection Literature," "RootSeeking Literature," and the"1985 New Wave,"to the age of image-capital in the post-New Age,literature and art have developed in tandem in the same historical contexts and stimulated diverse thoughts.Yet,for many years,disciplinary boundaries have isolated literature from various forms of arts,limiting each to a soliloquy within the field of its own,so much so that the wholistic historical background shared by literature and art was broken to pieces.This article situates an idea about ink and wash painting that remains unchanged for thirty-two years in a historical coordinate plane with the"1985 New Wave"as the origin point. Thus set up,it seeks to visualize and understand the development of contemporary Chinese literature and art in the past forty years——a period that spans the New Age and the post-New Age——with a particular focus on the predicaments faced by the art market in the age of image-capital.It argues that the contemporary fine arts field in China is,to a large extent,controlled by the capital,which dismantles the non-instrumental value of art.Therefore,it maintains,that it would be a precious virtue of the artist to consciously resist capital,cultivate learning,and acquire an encyclopedic knowledge of art.
- HUANG Binhong /
- “1985 New Wave” /
- “using the method of the ancients’ ink and wash to draw a picture for the ancients” /
- the Age of Image-Capital /
- Aura /
- conceptual art

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