民族学刊

以庄孔韶带领的绘画人类学团队为例，系统探讨绘画人类学跨学科发展的理论逻辑与实践模式。绘画人类学将绘画作为研究对象，既涵盖以人类学视角对绘画群体、风格、技艺等整体性的研究，亦强调通过绘画形式呈现田野经验与跨文化视角，以实现跨学科的知识整合与表达创新。团队以“不浪费的人类学”为理论基石，倡导突破文字民族志局限，构建绘画与文本互补的文化表达体系。在跨学科实践层面上，团队通过理论研究、绘画创作与跨学科策展等方式协同推进，形成了以“文化隐喻”为核心的人类学绘画系列作品，并借助“田野工作坊”等合作机制，促进人类学家与画家在田野调查、创作与展示中的深度互动。研究结果表明，该团队的实践在跨学科理论光谱上具有工具性拓展与认识论重构的双重意义，既丰富了人类学的表达维度，也为艺术创作注入了文化厚度。其多年的实验性探索为反思传统学科界限、深化学科合作、构建多元互补的文化表述体系提供了重要路径与坚韧基础。

This paper examines the academic ideas, theoretical advancements, and practical applications of a painting anthropology team led by anthropologist Zhuang Kongshao, attempting to conduct a systematic analysis of its interdisciplinary characteristics. This interdisciplinary team consists of several anthropologists and professional painters, as well as other relevant specialists. Their academic practices primarily include theoretical research, anthropological paintings, and interdisciplinary curation, exhibiting a strong interdisciplinary orientation. At the core of this team's integrated interdisciplinary practice lies the academic notion of “non-waste anthropology, ” which serves as their theoretical foundation of the anthropology of painting. This concept emphasizes that cultural representation in anthropology should be open-minded, unrestricted by methods, and unconstrained by existing disciplinary knowledge systems. The theorization of interdisciplinary research offers a holistic framework for a systematic analysis of the team's research practices. Various theorizational methodologies of interdisciplinary practice can be summarized along a spectrum, with instrumentalism at one end—representing empirical engagement—and epistemology at the other. The academic advancements made by this team can be situated at different points along this spectrum: At the theoretical, practical, and instrumental expansion levels. At the instrumental level, anthropological painting enhances the accessibility of abstract anthropological knowledge for the general public. At the theoretical level, painters and anthropologists have engaged in profound exchanges on cross-ethnic, cross-cultural, and interdisciplinary anthropological painting creativity, as well as artistic representation and theories of anthropology.The anthropology of painting considers painting both as an important object of analysis and a research medium, as well as a significant channel for cultural representation. Interdisciplinary scholars share a common goal: To integrate anthropological theories and methodologies with those of painting so that both disciplines can benefit. This collaborative research between art and anthropology is developing in parallel with international cutting-edge research. At the level of concrete practice, since approximately 2000, the Painting Anthropology team has fostered ongoing collaboration among anthropologists, painters, and related professionals. The initial focus on individual collaborations has evolved into extensive team-oriented projects, exhibiting diverse collaborative work patterns. The interdisciplinary practices of team members have demonstrated that painting is not only a viable medium for achieving anthropological cultural representation but also complements textual expression. Similarly, fieldwork methods and ethnographic knowledge have enabled painters to deepen the connotations of their paintings and uncover new themes. This article asserts the necessity for a phased evaluation of this emerging academic field through a systematic interdisciplinary analysis of this team's theories and practices, while cautioning against sweeping, one-size-fits-all judgments. Such a comprehensive evaluation should encompass the following four aspects: 1) An emphasis of the academic potential of interdisciplinary research; 2) a focus on academic orientation; 3) a thorough consideration of the connection between painting creation and painting anthropology theory; and 4) an acknowledgment of the interactive relationships and integrative practices between disciplines and scholars. The team's interdisciplinary practice for over two decades has demonstrated that gradual collaboration has infused academic vitality into both art and anthropology, and the shared space of painting anthropology. In addition, deepening mutual learning and cooperation between disciplines and scholars will enable both sides to evolve into more equal, mutually constitutive interdisciplinary practitioners, forming a resilient foundation for further interdisciplinary academic innovation.