如何欣賞一幅中國畫：漢語思維與中西繪畫比較
內容簡介： 本講座列舉兩百多幅中西方繪畫史重要作品圖片，在中西繪畫的差異中，來分析中國畫“意象思維”的特徵。透過不同思想傳統、不同畫法與材料，辨析東西方藝術實踐的流變。 本講座關注中國文人畫傳統的歷史流變與圖像分析，或許我們應從漢語思維的高度上，去理解中國的藝術精神——中國文化的核心密碼存在於漢字之中。漢字通過駕馭語言（超越語音之上），奠定了中國大一統的文化格局，漢字通過滲透繪畫，奠定了中國人基本的視覺審美趣味。儒道釋信仰和傳統文化的種種觀念，浸淫於國畫作品中，寓無形於有相，從這個意義上說，中國人是一個審美共同體——漢語思維定義了中國藝術，其藝術傳統圍繞著意象思維與筆墨詩學之間相互轉換，這一原則是文人畫傳統的基礎，也塑造了當代中國人的審美意識。
Abstract: The key to deciphering Chinese culture lies in its written language. By grounding language in a realm beyond phonetics, Chinese characters have become the building blocks of the grand narrative of Sinosphere culture. As they occupy the pictorial plane, Chinese characters also serve as a foundation for the visual aesthetics and tastes of the Chinese people. The myriad concepts from Confucian and Taoist beliefs are immanent in Chinese paintings, which, in turn, give form to abstraction. In this sense, the Sinosphere also signifies an aesthetic commonality. This perspective is essential for understanding Chinese art and approaching the differences between Chinese and Western painting traditions. This lecture will present over two hundred examples to illustrate the characteristics of Chinese “imagery thinking” and analyze differences in artistic practice through this important distinction between different traditions of thought.
主持人：王德威(哈佛大學東亞語言與文明系講座教授）
David Der-wei Wang is Edward C. Henderson Professor in Chinese Literature and Comparative Literature, Harvard University. He is Director of CCK Inter-University Center for Sinological Studies, Academician of Academia Sinica and American Academy of Arts and Sciences, International Fellow of the British Academy. Wang’s specialties are Modern and Contemporary Chinese and Sinophone Literature, Late Qing fiction, and Comparative Literary Theory. Wang’s recent publications include The Lyrical in Epic Time (2014), Why Fiction Matters in Contemporary China (2020). He is Editor of Harvard New Literary History of Modern China (2017). 電郵：Email: dwang@fas.harvard.edu
主講人：李春陽（中國藝術研究院美术研究所研究員）
李春陽，中國藝術研究院美術研究所研究員，德國法蘭克福漢學系大學、日本東京多摩美術大學日本畫系、美國哈佛大學藝術史與建築史系訪問學者。李可染畫院研究員、中國美術家協會會員。治中國思想史、跨語際背景下的中國文化與中國藝術，致力於當代中國的修辭思維與審美思維研究。兼事國畫與油畫創作，在東京柏林北京等地多次舉辦美術講座與繪畫展覽。 著作：《白話文運動的危機》（獲文化部中國藝術研究院優秀科研成果獎。由香港鳳凰衛視報導，兩岸三地出版，被認定為高等院校近現代中國文學史的重要教科書。入列“近現代中國語言現代性重要論著”）、《超乎左右之上的魯迅》（辨析學界的左右分歧、溯源中國思想史的左右思潮）、《白話文百人百論》（於中國社科院《社會科學論壇》連載2021-2025年）、《白話人物志》（於香港《大公報》連載2024-2025年）、《返本開新與語文轉型》（文集在版）、《對稱：春陽畫集》（實驗水墨作品集）、以及應木心先生邀約為其詩作《詩經演》做注釋等。 電郵：Email: chunyangli@fas.harvard.edu Li Chunyang acquired her PhD in Art History and Theory from Chinese National Academy of Arts. She is researcher at Fine Arts Research Institute of Chinese National Academy of Arts; visiting scholar at Department of Japanese Painting, Tama Art University, Tokyo, Department of Sinology, Goethe University Frankfurt, and Department of History of Art and Architecture, Harvard University. She is also honarary researcher at Li Ke Ran Painting Institute, and member of Chinese Artists Association. Her work integrates academic research on the history of Chinese philosophy and painting with artistic practice, investigating the materiality of ink wash and oil painting. This integrated approach seeks to explore both poetic and aesthetic thinking within the contemporary Chinese context.