以形式之美跨越文化鸿沟——论伦敦现代主义运动对中国艺术的借鉴-《南京师大学报》（社会科学版）

文章信息/Info

Title:: Bridging Cultural Divides with Formalist Aesthetics: TheInterpretation of Chinese Art by London Modernist Movement

摘要:: 本文通过以罗杰·弗莱和克莱夫·贝尔为代表的“布鲁姆斯伯里团体”美学思想与中国艺术关联的分析，探讨英国现代主义运动生成中的中国元素，认为弗莱和贝尔以形式审美作为进入中国艺术的门径，同时从自身艺术变革的需要出发再度阐释了中国艺术，使之成为西方现代主义形式美学观念形成的重要资源。弗莱和贝尔首先从重主观表现的美学思想出发，推崇中国艺术的散点透视与平面构图，进而还借鉴了韵律、留白的观念与技巧，使中国美学词汇成为现代主义的有机组成部分。与此同时，弗莱和贝尔对中国文化的阐释并未真正从中国语境出发，而与英国现代主义的发展相连，这就使得他们表面上非政治性的审美主义背后，又体现出隐含的政治性。

Abstract:: This paper is intended to demonstrate the Chinese elements embodied in the development ofBritish Modernist literary movement through analyzing the connection between Chinese art and the aestheticthoughts of British modern art critics Roger Fry and Clive Bell. Taking the formal aesthetics as the pathwayof understanding Chinese art, Fry and Bell reinterpreted Chinese art so as to meet their own demand for arttransformation, making it a significant source of Western Modernist formal aesthetics concept. Firstly, Fryand Bell praised highly the graphic composition and cavalier perspective methods in Chinese art owning totheir preference for subjective expression in aesthetics concept. Secondly, they borrowed from Chinese artthe notions and skills like“ rhythm” and“ space” , making Chinese aesthetic terms an indispensable part ofModernism. However, their interpretation of Chinese culture seems more relevant to the development of BritishModernism rather than the original Chinese context, adding certain political nature under its non-politicalaestheticism surface.