《废墟的故事》内容简介

　　寒烟衰草，古木遥岑，丰碑特立，四无行迹，观此使人有古今之感。

　　以木结构为基础的建筑形态造就了中国古代与西方截然不同的“废墟”观念，极少表现废弃人造建筑的绘画传统以独特的方式传达时间的流逝。传统中国对“往昔”的视觉感受和审美在历史的进程中与西方文化碰撞、交互，由此诞生了一种全新的现代中国视觉文化；而抗日战争结束以后，当中华民族走出了那个满目疮痍的时代，那些昏暗而危险的废墟应该何去何从？

　　本书在全球语境中思考中国的美术和视觉文化，分析了一系列丰富的传统和当代视觉材料，包括绘画、碑拓、建筑、摄影、电影、印刷品，以及装置与行为艺术，讲述属于中国的“废墟的故事”。

　　作者简介

　　巫鸿（WuHung）

　　著名美术史家、批评家、策展人，芝加哥大学教授。

　　1963年考入中央美术学院美术史系学习。1972—1978年任职于故宫博物院书画组、金石组。1978年重返中央美术学院美术史系攻读硕士学位。1980—1987年就读于哈佛大学，获美术史与人类学双重博士学位。随即在哈佛大学美术史系任教，于1994年获终身教授职位，同年受聘主持芝加哥大学亚洲艺术教学，执“斯德本特殊贡献教授”讲席。2002年建立东亚艺术研究中心并任主任，兼任该校斯玛特美术馆顾问策展人。2008年成为美国国家文理学院终身院士，并获美国美术家联合会美术史教学特殊贡献奖，成为大陆赴美学者获得这两项荣誉的第一人。

　　其著作包括对中国古代、现代艺术以及美术史理论和方法的多项研究，古代美术史方面的代表作有《武梁祠：中国古代画像艺术的思想性》（1989）、《中国古代艺术与建筑中的“纪念碑性”》（1995）、《重屏：中国绘画中的媒材与再现》（1996）、《黄泉下的美术：宏观中国古代墓葬》（2010）、《废墟的故事：中国美术和视觉文化中的“在场”与“缺席”》（2012）等。

　　

A brief introduction to the Story of Ruins

Cold smoke decaying grass, ancient wood remote Cen, monument stand, four without trace, view this makes people have the sense of ancient and modern.

The architectural form based on wooden structure creates the concept of "ruins" in ancient China, which is completely different from that in the West. The painting tradition that rarely shows abandoned man-made buildings conveys the passage of time in a unique way. In the course of history, the traditional Chinese visual feeling and aesthetics of the past collide and interact with Western culture, thus giving birth to a brand new modern Chinese visual culture. After the end of the war of resistance against Japan, when the Chinese nation came out of that devastated era, where should those dark and dangerous ruins go?

Reflecting on Chinese fine arts and visual culture in a global context, this book analyzes a rich array of traditional and contemporary visual materials, including painting, lithography, architecture, photography, film, print, and installation and performance art, to tell the "story of ruins" that belongs to China.

About the author

WuHung

Famous art historian, critic, curator, professor at the University of Chicago.

In 1963, he was admitted to the Art History Department of the Central Academy of Fine Arts. From 1972 to 1978, he worked in the painting and Calligraphy Group and the Stone Group of the Palace Museum. In 1978, he returned to the Art History Department of the Central Academy of Fine Arts to pursue a master's degree. From 1980 to 1987, he studied at Harvard University and received a dual doctorate in art history and anthropology. He then taught in the Department of Art History at Harvard University, and in 1994 was awarded a tenured professorship. In the same year, he was appointed to chair the Asian Art teaching at the University of Chicago, where he held the "Steppen Special Contribution Professor" chair. In 2002, he established the East Asian Art Research Center and served as the director and consultant curator of the Smart Art Museum of the university. In 2008, he became a lifelong academician of the National College of Arts and Sciences of the United States, and won the Special Contribution Award for Art History Teaching of the American Artists Association, becoming the first scholar from the mainland to win these two honors.

His works include a number of studies on ancient and modern Chinese art as well as theories and methods of art history. His representative works in the history of ancient art include Wuliang Temple: The Ideological Nature of Ancient Chinese Portrait Art (1989), Monumentality in Ancient Chinese Art and Architecture (1995), and Double Screen: Media and Representation in Chinese Painting (1996), Art Under the Yellow Spring: MacroChinese Ancient Tombs (2010), and Stories of Ruins: Presence and Absence in Chinese Art and Visual Culture (2012).