The Civilizational Circulation Between the Orient and the Occident:Laurence Binyon's Theorization on Artistic Civilization in the Horizon of Global Geo-influence
This article analyzes the trilogy of the Far East art study Painting in the Far East,The Flight of Dragon and The Spirit of Man in Asian Art by the English critic of the Far East art,connoisseur and poet in the first half of the 20th century Laurence Binyon from the perspective of the meta-discourse of global civilization critique.Totally different from Francis Fukuyama's theory of the end of history and Samuel Huntington's theory of the clashes of civilizations,the contemporary value of Binyon's theory of global artistic civilization lies in the following aspects:completely subvert European traditional literary and artistic theory of mimesis,question modem scientism,negate the Enlightenment episteme of linear progress and Eurocentrism,eulogize Oriental spirit of man as the quintessence of Chinese classical civilization;construct a grand narrative of transcultural circulation among global artistic civilizations,in which Oriental civilization forms its structure of radiation with Chinese art as the core and Oriental and Occidental civilizations form bidirectional circulation via the overland and maritime Silk Roads;in his newly created model of artistic civilization evaluation and cognition it is the degree of spiritualization symptomized by art instead of the degree of scientific progress and material prosperity determines the level and superiority of civilization.Binyon's theory represents the rise of the discourse of global artistic civilization in Anglo-American Modernist literature,art and thought in late 19th century and early 20th century collectively purported by G.L.Dickinson,Roger Fry,Arthur Waley and Ezra Pound etc.This emergent critical discourse unanimously turns from the Hellenic spirit at the fountainhead of modern Western civilization to the deep interpretation of and identification with Chinese classical civilization in the Orient.
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