滕固美术史学中的多重民族－国家叙事

• 作者： 张学峰 ¹
• 作者单位：
  1.  四川美术学院
• 发布时间：2025-02-17

摘要: 近现代中国的民族—国家叙事，既是政治浪潮，又是文化浪潮。滕固是现代美术
史学科的奠基人之一，他从美术史分期、风格学转化、士大夫画发展三个层面，叙述民族—
国家的文化发展史。他是从美术史理论层面，探寻民族—国家叙事的先驱者。
首先，本文通过文献梳理，指出滕固对中国美术史作了三种分期，前两种政治性表达
强烈，概念的使用时见生硬，第三种对古代艺术风格进行全程描述，婉转揭示中国风格有
独立、发展、圆满等阶段，这种温和叙事在其后的著述中被延续。
其次，通过概念的分析与比较，可知滕固最早引入欧洲的风格学，将之看作新史学和
齐平欧洲的学术方法。他将国家形象、民族风格、写实发展、对外开放观念融入其中，转
化了沃尔夫林的视觉形式分析。其所作唐宋绘画史和整理国故追求的客观性比较接近，但
未脱离形式分析的某些规范。其风格学兼顾中国的文献学传统，处在中西范式之间、学术
与政治之间。
再次，滕固将士大夫分成“高蹈型式”“馆阁型式”，肯定士大夫画理论，归纳士大
夫画有四个阶梯，承认士大夫乃民族文化的曾经参与者。他兼及南北宗理论、风格学、社
会学，并没有将士大夫画上升到政治批判。他从写实递进和社会学层面分析唐宋绘画，指
出唐宋山水画是士大夫对自然的征服史，是士大夫的社会发展史。士大夫及其绘画，由此
成为民族—国家构建的历史见证。
滕固不将历史与现实混同，对历史和士大夫有同情式理解，其民族—国家叙事甚显文
化自觉。他没有用政治规划学术，没有激进地反传统，同时也较好地借鉴了欧洲的风格学
研究，将之与中国的当前文化与学术构建相联系。滕固的学术经历及其转向，见证了一个
五四青年从政治呼喊走向学术考量的转变，见证了文化层面的民族—国家叙事具有更长久
的意义。
 

Abstract: The nation-state narration in modern China is not only a political tide, but also a
cultural tide. Teng Gu is one of the founders of modern art history. He narrates the history
of national-state cultural development from three aspects: the division of Art History, the
transformation of style and the development of scholar-official painting. He is a pioneer who
explores the nation-state narrative from the perspective of art history theory. Firstly, through a
review of the literature, this paper points out that Teng Gu has divided the Chinese art into three
stages. The first two are highly political, and the concept is often blunt, but the third describes
the whole process of the ancient art style, tactfully reveals that Chinese style has stages of
independence, development and perfection, and this kind of gentle narration is continued in the
following works.Secondly, through the analysis and comparison of the concepts, it is known
that Teng Gu first introduced the style of Europe, as a new history and the academic methods
of Europe. He incorporated the national image, national style, realistic development and the
concept of opening to the outside world into it, transforming Wolflin's visual form analysis.
His painting history of the Tang and Song dynasties is close to the objectivity of the pursuit
of collating national culture, but it is not separated from some norms of formal analysis. His
stylistics, taking into account the Chinese tradition of philology, lies between Chinese and
western paradigms, between academic and political. Thirdly, Teng Gu divided the literati
into“High-style” and“Pavilion-style”, affirmed the literati painting theory, summarized that
the literati painting had four steps, acknowledging that the literati were once participants in
national culture. He dabbled in the southern and northern school theory, style, sociology, and
did not raise the literati painting to political criticism. He analyzed Tang and Song painting
from realistic and sociological perspectives, and pointed out that Tang and Song landscape
painting was the history of literati and officialdom's conquest of nature and social development.
The literati and their paintings became the historical witness of nation-state construction.TengGu did not confuse history with reality, and he had a sympathetic understanding of history
and literati. He did not use politics to plan academics, or radically rebel against tradition. He
drew inspiration from the study of European stylistics, and connected it with China's current
culture and academic construction. Teng Gu's academic experience and turn witnessed the
transformation of a May Fourth youth from political shouting to academic consideration, and
the long-term significance of cultural nation- state narration as well. 

• 分类： 艺术学 >> 美术与书法
• 稿件状态： 已在期刊出版
期刊名称： 《当代美术家》 2025年 第1期
• 引用： PSSXiv:202502.00881 (或此版本 PSSXiv:202502.00881V1)
  DOI:10.12451/202502.00881
  CSTR:32012.36.PSSXiv202502.00881
• 推荐引用方式： 张学峰.滕固美术史学中的多重民族－国家叙事.当代美术家,2025(1).[PSSXiv:202502.00881V1] (点此复制)