從“尊受”問題談《畫語錄》的美學(xué)思想
發(fā)布時間：2018-10-11 17:48
【摘要】：傳統(tǒng)語境的缺失,使我們在審視本土文化概念時,已儼然成為一位“異鄉(xiāng)人”。離開了傳統(tǒng)的語境,以西方二元對立的視角來審視傳統(tǒng)文化只能是“盲人摸象”,見不到其宏偉整全之境。時至今日,古代中很多重要的哲理概念并沒有真正為我們所理解,進而影響到了對傳統(tǒng)藝術(shù)理論的研究。 就《畫語錄》而言,對“尊受”問題的研究無疑有著重要的地位和意義�！笆堋蹦苏俊懂嬚Z錄》理論結(jié)構(gòu)之樞要,不明白“受”的含義,就不可能真正理解“一畫”,也就無法把握《畫語錄》的精神實質(zhì)。本文擬從“尊受”問題入手,通過對傳統(tǒng)哲理概念的梳理,揭示出“受”的構(gòu)成形態(tài)及特點；通過“受”與“一畫”關(guān)系的比較,揭示出“一畫”之特點。由此展現(xiàn)石濤美學(xué)思想的精神實質(zhì)。 石濤《畫語錄》和《易傳》有著密切的關(guān)系,尤其受到《易傳》中“天”觀念的影響。《畫語錄》中很多重要的概念均圍繞“天”來展開,它構(gòu)成了整部《畫語錄》的理論基礎(chǔ),是理解石濤思想的關(guān)鍵所在�！疤臁痹凇兑讉鳌分芯哂袆�(chuàng)生性,乃萬物之本體,它落實在人上,賦予了人“天地之性”�！笆堋本褪恰疤臁钡摹袄尸F(xiàn)”或“天地之性”的明澈。因為“天地之性”的明澈,使人與本源之“天”相渾化,“天”的創(chuàng)造力通過人顯現(xiàn)出來,表現(xiàn)為人本具的創(chuàng)造力。因此,尊“受”就是尊“天”,尊“天”之所“授”,也就是尊藝術(shù)家本具的創(chuàng)造力。得“受”而尊,使人之“性天”顯現(xiàn),使人本具的創(chuàng)造力迸發(fā)出來,藝術(shù)創(chuàng)作則進入“一畫”之狀態(tài)。自然而發(fā),“如天之造生,地之造成�！薄坝脽o不神而法無不貫”,“理無不入而態(tài)無不盡”,以致法無不化、“無法而法,乃為至法”。此開《一畫》、《了法》、《變化》、《尊受》諸章之理路。 但人的“天地之性”常受私欲的遮蔽而不顯,“天”人之間不能貫通,人本源的創(chuàng)造力也就無法顯現(xiàn)。因此,藝術(shù)家需要“原始反終”之過程。所謂“原始”,就是要解除心靈的束縛,拋棄遮障我們“天地之性”的欲望、知見,使心回歸于“天蒙”,使“性天”朗現(xiàn),我們本具的創(chuàng)造力則得以彰顯。此為“蒙養(yǎng)”一詞所具的藝術(shù)家主體修養(yǎng)之形上意義,亦開《遠(yuǎn)塵》、《脫俗》兩章之理路。 然僅有“天地之性”的明澈,并不必然成為一位畫家,不同的藝術(shù)門類仍需不同的技巧。技巧乃“天”之“成物力”,它在“始物力”的引領(lǐng)下發(fā)揮作用,保證了藝術(shù)家的創(chuàng)造力向“有”(畫)的方面轉(zhuǎn)化。由此保住了《筆墨》、《運腕》、《山川》、《皴法》、《境界》、《蹊徑》、《林木》、《海濤》諸章存在之價值意義。
[Abstract]:Because of the absence of traditional context, we have become an alien when we examine the concept of local culture. Without the traditional context, the traditional culture can only be viewed from the perspective of dualistic opposition in the West. Up to now, many important philosophical concepts in ancient times have not really been understood by us, which have influenced the study of traditional art theory. As far as the quotation of painting is concerned, there is no doubt that the study of respect for reception has an important position and significance. "receiving" is the pivot of the theoretical structure of the whole painting quotation. If the meaning of "receiving" is not understood, it is impossible to really understand "one painting", and it is impossible to grasp the spiritual essence of "painting quotation". This paper begins with the question of "respect for receiving", through combing the concept of traditional philosophy, reveals the form and characteristics of "receiving", and reveals the characteristics of "one painting" by comparing the relationship between "receiving" and "one painting". This shows the spiritual essence of Shi Tao's aesthetic thought. Shi Tao's Picture Quotations and Yi Zhuan have a close relationship, especially influenced by the idea of "Heaven" in Yi Zhuan. Many important concepts in "painting Quotations" revolve around "Heaven", which forms the theoretical basis of the whole painting Quotations. It is the key to understand Shi Tao's thought. Heaven is the essence of all things in Yi Zhuan. It is implemented on man and endows him with the nature of heaven and earth. Receiving is the clarity of the nature of heaven and earth. Because of the clarity of the nature of heaven and earth, the nature of man and the nature of the source are mixed together, and the creativity of the nature of heaven is manifested through man, which is manifested as the creativity of the human being. Therefore, respect for "receive" is respect for "heaven", respect for "heaven" of the place, that is, respect the artist's own creativity. To "receive" and respect, so that the "nature of man" show, so that the original creativity burst out, artistic creation into the state of "one painting." Natural and hair, "like the creation of heaven, the cause of the earth." "using all gods and law without exception", "all principles and the state is inexhaustible", so that the law is not, "can not but law, is the law." This opens "one painting", "the Dharma", "change", "respect to receive" the logic of the chapters. However, man's nature of heaven and earth is often obscured by selfish desire. Therefore, the artist needs the process of "beginning and ending". The so-called "primeval" is to remove the bondage of the soul, abandon the desire to block our "nature of heaven and earth", make the mind return to "heaven and earth", make the "nature of nature" appear, and the creativity of our own is revealed. This is the metaphysical meaning of the artist's subject cultivation, which is also the reason of the two chapters. However, only the nature of heaven and earth does not necessarily become a painter, different categories of art still require different skills. The technique is the "material resources" of "heaven", which plays a role under the guidance of "beginning material resources", which ensures the artist's creativity to be transformed into "have" aspect. Thus preserving the value of the existence of the chapters of "pen and ink", "wrist", "mountain and river", < chapping >, "realm", "groin path", "forest tree" and "Haitao".
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J201
本文編號：2264700
[Abstract]:Because of the absence of traditional context, we have become an alien when we examine the concept of local culture. Without the traditional context, the traditional culture can only be viewed from the perspective of dualistic opposition in the West. Up to now, many important philosophical concepts in ancient times have not really been understood by us, which have influenced the study of traditional art theory. As far as the quotation of painting is concerned, there is no doubt that the study of respect for reception has an important position and significance. "receiving" is the pivot of the theoretical structure of the whole painting quotation. If the meaning of "receiving" is not understood, it is impossible to really understand "one painting", and it is impossible to grasp the spiritual essence of "painting quotation". This paper begins with the question of "respect for receiving", through combing the concept of traditional philosophy, reveals the form and characteristics of "receiving", and reveals the characteristics of "one painting" by comparing the relationship between "receiving" and "one painting". This shows the spiritual essence of Shi Tao's aesthetic thought. Shi Tao's Picture Quotations and Yi Zhuan have a close relationship, especially influenced by the idea of "Heaven" in Yi Zhuan. Many important concepts in "painting Quotations" revolve around "Heaven", which forms the theoretical basis of the whole painting Quotations. It is the key to understand Shi Tao's thought. Heaven is the essence of all things in Yi Zhuan. It is implemented on man and endows him with the nature of heaven and earth. Receiving is the clarity of the nature of heaven and earth. Because of the clarity of the nature of heaven and earth, the nature of man and the nature of the source are mixed together, and the creativity of the nature of heaven is manifested through man, which is manifested as the creativity of the human being. Therefore, respect for "receive" is respect for "heaven", respect for "heaven" of the place, that is, respect the artist's own creativity. To "receive" and respect, so that the "nature of man" show, so that the original creativity burst out, artistic creation into the state of "one painting." Natural and hair, "like the creation of heaven, the cause of the earth." "using all gods and law without exception", "all principles and the state is inexhaustible", so that the law is not, "can not but law, is the law." This opens "one painting", "the Dharma", "change", "respect to receive" the logic of the chapters. However, man's nature of heaven and earth is often obscured by selfish desire. Therefore, the artist needs the process of "beginning and ending". The so-called "primeval" is to remove the bondage of the soul, abandon the desire to block our "nature of heaven and earth", make the mind return to "heaven and earth", make the "nature of nature" appear, and the creativity of our own is revealed. This is the metaphysical meaning of the artist's subject cultivation, which is also the reason of the two chapters. However, only the nature of heaven and earth does not necessarily become a painter, different categories of art still require different skills. The technique is the "material resources" of "heaven", which plays a role under the guidance of "beginning material resources", which ensures the artist's creativity to be transformed into "have" aspect. Thus preserving the value of the existence of the chapters of "pen and ink", "wrist", "mountain and river", < chapping >, "realm", "groin path", "forest tree" and "Haitao".
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J201
【參考文獻】
相關(guān)期刊論文 前4條
1 葉朗;石濤“畫語錄·尊受章”的解釋問題[J];美術(shù)研究;1980年04期
2 閆秀芝;論石濤繪畫美學(xué)體系的特征[J];清華大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1995年01期
3 束景南;畫中禪魂 禪中畫心——石濤繪畫美學(xué)思想體系新探[J];文藝研究;1992年04期
4 童中燾;;畫論感言三則[J];新美術(shù);2006年02期
，本文編號：2264700
本文鏈接：http://www.sikaile.net/wenyilunwen/huihuayishu/2264700.html
