关良早年留学日本,归国后成为推动现代艺术的重要画家,晚年却以水墨人物画著称。他在20世纪画坛被赋予的文化角色,常被描述为看似对立的身份:现代主义开拓者、传统回归者,其间差异则被视作因政治现实而发生的“改弦易辙”。本文从“双重身份”的表述入手,指出“改弦易辙”的看法存在“传统与现代不相兼容”的潜在前提。针对这一前提,通过辨析其早年与晚年表述中的转折句,认为现代、传统在其认知结构中并非不兼容。相反,通过以形式语言为着眼点的认知方式、简繁关系为基础的判断逻辑,传统、现代获得了知识的重构。该经验向我们表明:文化碰撞不是简单对抗的“零和博弈”。看似不同的资源存在细微、蜿蜒的认知孔隙,并形成相互包容的交错关系。新的历史主体在幽微的缝隙中获得策略化均衡,使博弈关系从紧张对抗转变为互动生长。 In the early years, Guan Liang studied in Japan and returned home to become an important painter of modern art. Later in his life, he painted ink figures. The cultural roles that he has endowed in the 20th century painting are often described as seemingly antagonistic identities: the pioneers of modernism and the traditional returnees, while the differences between them are viewed as “changing course ” due to political reality. This article starts with the expression of “dual identity”, and points out that there is a potential precondition for “traditional and modern incompatibility”. In response to this premise, through the analysis of the twists and turns of his early and late years, modernity and tradition are not incompatible in their cognitive structure. On the contrary, through the judgmental logic based on the formal language’s cognitive mode with emphasis on the relationship between the simple and the complex, the reconstruction of knowledge has been obtained by tradition and modernity. This experience shows us that cultural collision is not a simple confrontation “zero sum game ”. Seemingly different resources exist subtle, meandering cognitive pores, and the formation of mutual interwoven relationship. The new main body of history obtains the strategic equilibrium in the slight gap, transforming the game relation from the intense confrontation to the interactive growth.