在 20 世纪 40—50 年代由“文明 / 原始”“垂直性 / 水平性”“块面 / 线条”等对立命题标识出的西方视觉思想坐标中，中国的艺术和观念体系作为一种文化他者，参与到西方现代文化自我反思和革新的过程中，但其概念功能并不与其内部的原始、无意识话语重合。跨文化研究观点推动了对中国语汇在其中所扮演角色的重新考察：在行动绘画与泼墨画之间的相似巧合、中国书法对抽象线条的直接影响，以及禅与无意识在“现代人文本”中的结合，这些碎片化的视觉和思想材料之中具有内在关联性的中国语汇并不直接走向西方现代性观念的对立面，而是发挥了一种在文明与原始之间、在生活智慧与形式意志之间的调和作用。

文明互鉴, 垂直性 / 水平性, 西方视觉思想, 禅宗, 中国书法

In the Western visual thought coordinates identified by opposing propositions such as “civilization/primitiveness” “verticality/horizontality”, and “block/line” in the 1940s and 1950s, Chinese art and conceptual systems, as a kind of cultural other, participated in the process of self reflection and renewal of Western modern culture, but their conceptual functions did not coincide with their internal primitive and unconscious discourse. Cross-cultural research perspectives have promoted a re-examination of the role played by Chinese discourses in this context: in the similar coincidence between action painting and ink painting, the direct influence of Chinese calligraphy on abstract lines, and the interplay between Zen and the unconsciousness in “the texts of the modern man”, Chinese discourses with an intrinsic correlation between these fragmented visual and ideological materials do not go directly to the opposite side of the Western conception of modernity. Instead, it plays a role of reconciliation between civilization and primitiveness, between wisdom of life and formal will.

civilization mutual appreciation, verticality/horizontality, Western visual thought, Zen, Chinese calligraphy