Landscape, Canon, and Intermediality in Chinese Painting of the 1930s and 1940s

20世纪30年代和40年代中国画的山水、经典和中间性

• 批准号: 208807351
• 负责人: Professorin Dr. Juliane Noth
• 金额: --
• 依托单位: Abteilung Ostasiatische Kunstgeschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2012
• 资助国家: 德国
• 起止时间: 2011-12-31 至 2017-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/208807351?language=en
• 关键词: Landscape; Canon; Intermediality; Chinese; Painting

In the first half of the twentieth century, Chinese landscape painting underwent fundamental transformations. Artists working in the medium of ink painting not only had to position themselves vis-à-vis the arts of the European tradition, they also had to redefine their own tradition. The formal means, the theoretical foundations, and the history of ink painting (which was now called national painting, or guohua) had to be mapped out. The project investigates the complex processes of cultural translation that accompanied the formation of what was to be understood as national painting in the twentieth century, and in particular of landscape painting as the most significant genre in Chinese painting. These processes of translation include not only the reception of European painting, and of Japanese views on Chinese painting, but also the transmission of pre-modern Chinese painting methods and histories. They entailed a reconfiguration of what was considered the artistic canon, and extended discussions on standards of canonization. These epistemological shifts were accompanied by changing visual paradigms. Many artists traveled to famous mountains and spectacular sites to sketch in situ, and numerous landscape paintings from this period reflect these practices. Furthermore, painters employed various pictorial media to reflect their experiences, including photography and pencil drawing, and they used travel-size sets of traditional painting tools. The project examines how these innovations were reconciled with the mediality of ink painting and how the painters themselves discussed these issues. The focus of the investigation lies on a group of artists who were active in Shanghai in the 1930s and collaborated closely with one another. Their pictorial works dating from the 1930s and 1940s will be interpreted with and against their writings in order to pinpoint the tensions, consistencies, and inconsistencies between the different pictorial and textual formats. In terms of method, the project employs the concept of intermediality to describe the shifts and ruptures that occur during formal or semantic transfers from one pictorial medium to another, as well as the interrelations between images and texts. The concept of intermediality is combined with cultural translation, since it is in moments of intermedial transposition that movements and negotiations of meaning become visible. The project will thus explain how twentieth-century traditionalist painting was invented by engaging with media that were seen as genuinely modern.

20世纪上半叶，中国山水画发生了根本性的变化。以水墨画为媒介的艺术家不仅要将自己定位于-à-vis欧洲传统艺术，他们还必须重新定义自己的传统。水墨画（现在被称为国画或国画）的形式手段、理论基础和历史必须被绘制出来。该项目研究了伴随20世纪国画形成的复杂文化翻译过程，特别是作为中国绘画中最重要的流派的山水画。这些翻译过程不仅包括对欧洲绘画和日本对中国画的看法的接受，还包括对前现代中国绘画方法和历史的传播。他们需要重新配置什么被认为是艺术经典，并扩大讨论标准的册封。这些认识论的转变伴随着视觉范式的变化。许多艺术家前往著名的山脉和壮观的景点就地素描，这一时期的许多山水画反映了这些做法。此外，画家们使用各种绘画媒介来反映他们的经历，包括摄影和铅笔画，他们使用旅行大小的传统绘画工具。该项目考察了这些创新是如何与水墨的媒介性相协调的，以及画家自己是如何讨论这些问题的。此次调查的重点是20世纪30年代活跃在上海的一群艺术家，他们彼此密切合作。他们在20世纪30年代和40年代的绘画作品将被解读为与他们的作品相抵触，以确定不同的绘画和文本格式之间的紧张关系，一致性和不一致性。在方法方面，该项目采用了中间性的概念来描述从一种图像媒介到另一种图像媒介的形式或语义转换过程中发生的转变和断裂，以及图像和文本之间的相互关系。中间性的概念与文化翻译相结合，因为正是在中间转换的时刻，意义的运动和协商才变得可见。因此，该项目将解释20世纪传统主义绘画是如何通过与被视为真正现代的媒体接触而发明的。