變化的宇宙觀：中國藝術(shù)精神再闡釋
發(fā)布時間：2018-07-29 18:21
【摘要】： 中國文化將宇宙理解為一種變化的過程；這一點與西方文化更多地從實體的角度來理解宇宙大異其趣。從變化的角度來理解宇宙和從實體的角度來理解宇宙事實上不只涉及到宇宙觀的異同，而且這種差異深刻地關(guān)系到人如何理解事物，如何與世界打交道，如何獲得生命意義等一系列問題。變化的宇宙觀與中國古代藝術(shù)在母題、形式、表達等諸多層面的獨特性同樣密不可分。如果不從一種變化的觀念而是從一些次要的概念入手，是無法真正理解中國古代藝術(shù)獨特的構(gòu)成機制的。 由于對變化的過程的注意，中國文化并沒有發(fā)展出西方式地將事物對象化、形式化的做法。處在一種變化中的世界、萬物是很難被作為一個置于眼前的非時間性的客體來進行把握的，但是作為一種視覺形式的藝術(shù)卻不得不將世界以一種圖像的方式確定下來。這對于西方藝術(shù)來說，并不構(gòu)成觀念與技術(shù)上的太大困難，它只需從流變不定的現(xiàn)象世界去抽象出某種更理想的“形式”即可，在這一點上，幾何學(xué)為其提供了一種標(biāo)準的范式。但是，對于中國古代藝術(shù)來說，卻面臨著視覺(空間)形式如何處理變化(時間)主題的悖謬。當(dāng)然，對中國古代的宇宙觀來說，變化不僅僅是一個時間主題，而是涉及到一整套對于世界的看法。這一套看法是由諸多有機關(guān)聯(lián)的層面構(gòu)成的。這些層面包括：1．萬物是一個有機整體，從而一種事物可以向另一種事物變形轉(zhuǎn)化；2．對偶的兩極可以相互轉(zhuǎn)化或?qū)ε嫉膬蓸O通過相互作用可以產(chǎn)生新的事物；3．萬物通過“不定形”的風(fēng)、云、水、氣這樣一種流體而得到溝通與更新；4．難以把握的“過程”、“關(guān)系”、氣^~、韻味等要比“形式”更重要；5．紛繁變化的萬物可以通過一種功能化的數(shù)類模式(如五行、八卦)來得到闡釋和把握。 正是這些相關(guān)聯(lián)的不同層面構(gòu)成了中國古代“變化的宇宙觀”的復(fù)雜性與豐富性。與之相聯(lián)系，對中國古代藝術(shù)的探討亦可通過五個不同層面來得到進行觀照，從而獲得對中國古代藝術(shù)構(gòu)成機制的一種更整體的看法。 論文的第一章，通過文字學(xué)的考釋、宇宙觀的梳理來論述作為一種變化的宇宙觀具有一種怎樣的層面與特征。同時，通過對相關(guān)問題的探討，指出儒、道、釋在變化的宇宙觀這一主題上有著相通的看法，同時存在差異。 第二章是以中國新石器時代到商周禮器上的動物圖像為對象來探討“變形”的主題。動物變形的信仰與中國文化中將人、動物乃至植物看成一個相生相化的整體這種觀念不可分割，同時也與中國文化早期對于動物神的崇拜密切相關(guān)。 第三章探討對偶與轉(zhuǎn)化的主題。對偶的概念之所以重要，其中一點就在于對偶所達到的并不是一種動態(tài)平衡或穩(wěn)定。相反，對偶的特點正在于兩種不同因素的相互作用而導(dǎo)致的變化的可能性。對偶模式不但在探討商周神話、政治方面具有重要意義，同時它在商周禮器藝術(shù)中構(gòu)成一種統(tǒng)治性原則。另外，我通過兩蛇(龍)母題對人面魚紋、九鼎紋飾、山海經(jīng)圖、帛畫、漢畫像中的伏羲女媧圖像之間的可能關(guān)聯(lián)進行了一種考察。雙蛇(龍)母題既與生死、陰陽轉(zhuǎn)化的信仰不可分割，又與雌雄同體、交媾化生的觀念有著密切的聯(lián)系。 第四章探討了中國文化為何將注意力放在那種無法“形式化”的力量，如風(fēng)、云、水、氣等“不定形”的事物上。水、云、氣這些母題在中國古代藝術(shù)中有著廣泛的表達，云氣紋遍布整個漢代藝術(shù)，而到唐代以后，水與云氣構(gòu)成山水畫中最重要的表現(xiàn)內(nèi)容。同時中國古人的空間觀念也是建立在這樣一些物象之上，以這些物象為基礎(chǔ)，還形成了獨特的中國藝術(shù)中的“虛”的觀念。 第五章指出，由于將整個宇宙萬物看成一個流動轉(zhuǎn)化的“過程”，，因而中國宇宙觀強調(diào)的不是對事物確定“形式”之把握，而是事物與事物之間相互作用的“關(guān)系”，或事物由一狀態(tài)到另一狀態(tài)、由隱到顯的居間構(gòu)成。與這些觀念相聯(lián)系，中國后來的藝術(shù)強調(diào)即興表達，注重“似與不似之間”的物象表現(xiàn)，同時“氣韻生動”的觀念表達了一種深刻的時間意識。 第六章分析了那種闡釋自然的千變?nèi)f化的數(shù)類化模式；與這種數(shù)類模式相對應(yīng)，中國古代藝術(shù)建立起一套通過簡易的“法”來創(chuàng)造萬物的機制。同時，通過梳理從董其昌到王原祁、石濤的藝術(shù)史譜系，探討了建立在兩種不同宇宙觀模式上的藝術(shù)傳統(tǒng)——對“法”的遵循與對“自然”的強調(diào)——是怎樣以對立互補的方式產(chǎn)生具體的歷史作用的。 本論文除第一章為背景梳理外，后面五章分別聯(lián)系“變化的宇宙觀”的五個不同層面來對具體的藝術(shù)現(xiàn)象進行分析。這五個層面既是五個不同的問題，同時也是同一個問題的不同側(cè)面。本文試圖通過這五個層面的探討來勾勒出一種建立在“變化的宇宙觀”視角上的對中國古代藝術(shù)現(xiàn)象的更整體的理解。
[Abstract]:The Chinese culture understands the universe as a process of change; this points with western culture more from the perspective of the entity to understand the great differences in the universe. Understanding the universe from the angle of change and understanding the universe from the perspective of entity does not only involve the similarities and differences of the cosmos, but this difference is deeply related to how people understand the matter. Things, how to deal with the world, how to get the meaning of life, and so on. The view of the change of the universe is equally inseparable from the uniqueness of Chinese ancient art in many aspects, such as motif, form, expression, and so on. It is impossible to understand the unique Chinese ancient art if it does not come from a change of concept but from some secondary concepts. Form a mechanism.
Due to the attention to the process of change, Chinese culture has not developed a Western-style approach to objectification and formalization. In a changing world, everything is difficult to be grasped as a non temporal object in front of the eyes. But as a visual form of art, it has to be a kind of world. The way of image is determined. This is not a great difficulty for Western art. It only needs to abstract a more ideal "form" from the world of unsteady phenomena. On this point, geometry provides a standard paradigm for it. However, it is faced with the ancient Chinese art. The paradox of how the visual (space) form deals with the subject of change (time). Of course, the change of the ancient Chinese view of the universe is not only a time subject, but a whole set of views on the world. This set of views is constructed by many organic related aspects. These aspects include: 1. all things are an organic whole. So that one thing can deform and transform to another; the 2. pairs of two poles can transform each other or the dual poles can produce new things through interaction; 3. all things get communication and renewal through a fluid such as the "unshaped" wind, clouds, water, and gas; 4. difficult to grasp the "process", "relationship", Qi, flavor, etc. is more important than "form"; 5. varied things can be interpreted and grasped through a functional model of number (such as five lines, eight diagrams).
It is the complexity and richness of the different views of the ancient Chinese "changing cosmos", which is associated with it, and the discussion of ancient Chinese art can also be viewed through five different levels, so as to obtain a more holistic view of the mechanism of the ancient Chinese art.
The first chapter of the paper, through the textual research and interpretation, the combing of the cosmos, discusses how the cosmology has a kind of level and characteristics. At the same time, through the discussion of the related issues, the author points out that Confucianism and Taoism have a common view on the subject of change in the universe, and there are differences.
The second chapter is to explore the theme of "deformation" from the animal images of the Chinese Neolithic Age to the Shang and Zhou ceremonial instruments. The belief in animal deformation is inseparable from the concept of human, animal and even plant as a phase of the whole. It is also closely related to the worship of animal God in the early Chinese culture.
The third chapter discusses the theme of duality and transformation. The reason why the concept of duality is important is that the duality is not a dynamic balance or stability. On the contrary, the character of duality is the possibility of the change caused by the interaction of the two different factors. The dual model is not only a discussion of the Shang Zhou myth, the political mask. It is of great significance. At the same time, it constitutes a ruling principle in the Shang and Zhou ceremonial art. In addition, I have conducted an investigation through the two snake (Dragon) motif on the possible association between the images of Fu Xi Nu Wa in the fish lines, the nine Ding ornaments, the The Classic of the Great Wilderness map, the silk painting and the Chinese portrait. It is closely related to the concept of sexual intercourse and metaplasia.
The fourth chapter discusses why Chinese culture focuses on the "unformalized" power, such as wind, cloud, water, gas and other "unshaped" things. Water, cloud and gas are widely expressed in ancient Chinese art. The clouds are all over the whole Han Dynasty, and after the Tang Dynasty, water and cloud constitute the most serious in the landscape painting. At the same time, the space concept of Chinese ancient people is based on such objects, based on these objects, and has formed a unique concept of "virtual" in Chinese art.
The fifth chapter points out that, as the whole universe is regarded as a "process" of flow transformation, the Chinese Cosmological view emphasizes not the certainty of "form", but the "relationship" of the interaction between things and things, or things from one state to another, from implicit to explicit. The later art of China emphasizes the impromptu expression, and pays attention to the expression of "resembling not like". At the same time, the idea of "vivid and lively" expresses a profound sense of time.
In the sixth chapter, we have analyzed the varied and varied patterns of interpretation of nature; in contrast to these types of models, ancient Chinese art established a set of mechanisms to create all things through a simple "law". At the same time, by combing from Dong Qichang to Wang Yuanqi and Shi Tao's history of art, the paper discussed the establishment of two different cosmos patterns. The artistic tradition of the "law" and the emphasis on "nature" are the ways to produce concrete historical effects in a complementary way.
Besides the first chapter, the five chapter analyzes the specific artistic phenomena in five different aspects of the "changing cosmos". These five levels are both five different problems and different aspects of the same problem. This article attempts to outline a construction through the discussion of these five levels. From the perspective of "changing cosmology", we have a more comprehensive understanding of the phenomenon of ancient Chinese art.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J01
本文編號：2153596
[Abstract]:The Chinese culture understands the universe as a process of change; this points with western culture more from the perspective of the entity to understand the great differences in the universe. Understanding the universe from the angle of change and understanding the universe from the perspective of entity does not only involve the similarities and differences of the cosmos, but this difference is deeply related to how people understand the matter. Things, how to deal with the world, how to get the meaning of life, and so on. The view of the change of the universe is equally inseparable from the uniqueness of Chinese ancient art in many aspects, such as motif, form, expression, and so on. It is impossible to understand the unique Chinese ancient art if it does not come from a change of concept but from some secondary concepts. Form a mechanism.
Due to the attention to the process of change, Chinese culture has not developed a Western-style approach to objectification and formalization. In a changing world, everything is difficult to be grasped as a non temporal object in front of the eyes. But as a visual form of art, it has to be a kind of world. The way of image is determined. This is not a great difficulty for Western art. It only needs to abstract a more ideal "form" from the world of unsteady phenomena. On this point, geometry provides a standard paradigm for it. However, it is faced with the ancient Chinese art. The paradox of how the visual (space) form deals with the subject of change (time). Of course, the change of the ancient Chinese view of the universe is not only a time subject, but a whole set of views on the world. This set of views is constructed by many organic related aspects. These aspects include: 1. all things are an organic whole. So that one thing can deform and transform to another; the 2. pairs of two poles can transform each other or the dual poles can produce new things through interaction; 3. all things get communication and renewal through a fluid such as the "unshaped" wind, clouds, water, and gas; 4. difficult to grasp the "process", "relationship", Qi, flavor, etc. is more important than "form"; 5. varied things can be interpreted and grasped through a functional model of number (such as five lines, eight diagrams).
It is the complexity and richness of the different views of the ancient Chinese "changing cosmos", which is associated with it, and the discussion of ancient Chinese art can also be viewed through five different levels, so as to obtain a more holistic view of the mechanism of the ancient Chinese art.
The first chapter of the paper, through the textual research and interpretation, the combing of the cosmos, discusses how the cosmology has a kind of level and characteristics. At the same time, through the discussion of the related issues, the author points out that Confucianism and Taoism have a common view on the subject of change in the universe, and there are differences.
The second chapter is to explore the theme of "deformation" from the animal images of the Chinese Neolithic Age to the Shang and Zhou ceremonial instruments. The belief in animal deformation is inseparable from the concept of human, animal and even plant as a phase of the whole. It is also closely related to the worship of animal God in the early Chinese culture.
The third chapter discusses the theme of duality and transformation. The reason why the concept of duality is important is that the duality is not a dynamic balance or stability. On the contrary, the character of duality is the possibility of the change caused by the interaction of the two different factors. The dual model is not only a discussion of the Shang Zhou myth, the political mask. It is of great significance. At the same time, it constitutes a ruling principle in the Shang and Zhou ceremonial art. In addition, I have conducted an investigation through the two snake (Dragon) motif on the possible association between the images of Fu Xi Nu Wa in the fish lines, the nine Ding ornaments, the The Classic of the Great Wilderness map, the silk painting and the Chinese portrait. It is closely related to the concept of sexual intercourse and metaplasia.
The fourth chapter discusses why Chinese culture focuses on the "unformalized" power, such as wind, cloud, water, gas and other "unshaped" things. Water, cloud and gas are widely expressed in ancient Chinese art. The clouds are all over the whole Han Dynasty, and after the Tang Dynasty, water and cloud constitute the most serious in the landscape painting. At the same time, the space concept of Chinese ancient people is based on such objects, based on these objects, and has formed a unique concept of "virtual" in Chinese art.
The fifth chapter points out that, as the whole universe is regarded as a "process" of flow transformation, the Chinese Cosmological view emphasizes not the certainty of "form", but the "relationship" of the interaction between things and things, or things from one state to another, from implicit to explicit. The later art of China emphasizes the impromptu expression, and pays attention to the expression of "resembling not like". At the same time, the idea of "vivid and lively" expresses a profound sense of time.
In the sixth chapter, we have analyzed the varied and varied patterns of interpretation of nature; in contrast to these types of models, ancient Chinese art established a set of mechanisms to create all things through a simple "law". At the same time, by combing from Dong Qichang to Wang Yuanqi and Shi Tao's history of art, the paper discussed the establishment of two different cosmos patterns. The artistic tradition of the "law" and the emphasis on "nature" are the ways to produce concrete historical effects in a complementary way.
Besides the first chapter, the five chapter analyzes the specific artistic phenomena in five different aspects of the "changing cosmos". These five levels are both five different problems and different aspects of the same problem. This article attempts to outline a construction through the discussion of these five levels. From the perspective of "changing cosmology", we have a more comprehensive understanding of the phenomenon of ancient Chinese art.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2009
【分類號】：J01
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