“民为贵”观念在宋代绘画中的形象化
“The People First” Principle as Visualized in Song Period Painting
时间
2022年12月13日
北京时间 14:00
主讲人
包华石
Martin Powers
包华石（Martin Powers），汉学家、艺术史家，美国密歇根大学艺术史的名誉教授，曾任密歇根大学中国艺术与文化教授、前中国研究中心主任。他的研究重点是艺术在中国人际关系史上所扮演的角色，并特别注重其中的社会正义问题。著有《古代中国的艺术与政治表达》（获1993年列文森奖）、《纹样与人物：古典中国的装饰、社会与自我》（获2008年列文森奖）、《西中有东：前工业化时代的中英政治与视觉》 等。他曾在许多国家级委员会任职，包括NEH、ACLS和视觉艺术高级研究中心的咨询委员会。他亦曾在清华大学、北京大学和浙江大学任教，并在多个场合发表中文文章和论文。
Martin Powers is Professor Emeritus in the History of Art, and formerly Sally Michelson Davidson Professor of Chinese Arts and Cultures at the University of Michigan. He also served previously as Director of the Center for Chinese Studies. His research focuses on the role of the arts in the history of human relations in China, with an emphasis on social justice issues. In 1993 his Art and Political Expression in Early China, Yale University Press, received the Levenson Prize for the best book in pre-twentieth century Chinese studies. In 2006, his Pattern and Person: Ornament, Society, and Self in Classical China, was published by Harvard University Press East Asian Series and was awarded the Levenson Prize for 2008. He has served on numerous national committees, including NEH, ACLS, and the advisory board of the Center for Advanced Study in the Visual Arts. He has taught at Tsinghua University, Peking University, and Zhejiang University, and has published articles and essays in multiple venues in Chinese, including an editorial series in the journal of culture and current affairs, Du Shu. In 2009 he was resident at the Institute for Advanced Study in Princeton. Together with Dr. Katherine Tsiang, he co-edited Looking at Asian Art and the Blackwell Companion to Chinese Art. In 2019, Routledge published his China and England: the Preindustrial Struggle for Justice in Word and Image. A Chinese translation of his 2012 Tsinghua lecture series was published in March, 2020 under the title The East in the West: Politics and Vision in Preindustrial China and England. He regularly contributes op-eds to Informed Comment and the South China Morning Post, and serves as a member of the SCMP Expert Network.
内容简介
正如琳·亨特（Lynn Hunt）几年前观察到的，像“政体”或“人民”这样的关键政治概念总是会被翻译成视觉形式。在这个形象化的翻译过程中，一些逃脱到文本形态之外的政治理论检验的基本假设得以浮现。图像经常准确地凸显人们习以为常的内容，因此并不要求语言上的辩论。不需要讨论的是社会礼仪，即那些决定社会等级和主体范畴的规则。另一方面，图像通常会密切地遵循这些礼仪，因此清楚地体现在权力结构内运行的、最具规范性的假设。
在贵族社会中，柳宗元和托马斯·潘恩（Thomas Paine）都观察到，民众服从于贵族的指令，于是在英格兰对政府进行理论化的最早尝试之一中，作者提出，除了“被统治”，民众在政体中无足轻重。我们可以在很多欧洲绘画中清晰得看到这种关系。在中国，到汉朝的时候，孟子的思想带来了另一套规范——把人民视为国家的一部分。这催生了一种迥然不同的视觉化，尤其发生在宋代。本讲座将介绍宋代绘画体现孟子规范的几种方式，并尝试说明视觉艺术如何以文本所不能的方式为社会史研究作出贡献。
As Lynn Hunt observed years ago, key political concepts, such as “the polity,” or “the people” often get translated into visual form (形象化). When they are, the translation reveals underlying assumptions that might escape political theory in textual form. Pictures often disclose precisely what everyone takes for granted and which, therefore, doesn’t require verbal debate. What does not require discussion is social decorum—those rules that determine social ranking and domains of agency. Pictures, on the other hand, typically follow rules of decorum closely and so reveal clearly the most normative assumptions operative within the power structure.
In aristocratic societies, as both Liu Zongyuan 柳宗元 and Thomas Paine observed, the multitude is subject to the whims of the nobility, and so one of England’s earliest attempts to theorize government declared that the multitude has no role in the polity other than “to be ruled.” This relationship can be seen clearly in any number of European paintings. In China, by Han times, the philosophy of Mencius gave rise to a different set of norms in which the people were conceived as part of the state. This gave rise to very different kinds of visualization, particularly in Song times. This lecture illustrates some of the ways that Mercian norms can be detected in Song period painting. In doing so it hopes to demonstrate how visual art can contribute to the study of social history in ways that texts typically do not.
参与方式
腾讯会议：484-436-599
密码：7578
主办
清华大学人文与社会科学高等研究所
来源：清华人文与社会科学高等研究所
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