【作者】 邵金峰；

【导师】 曾繁仁；

【作者基本信息】 山东大学 ， 文艺学， 2011， 博士

【摘要】 20世纪以来的生态危机不仅威胁着人类的现实生存,也威胁着人类的精神生存,使人类面临无家可归的危险。于是东西方学人纷纷对文化进行反思,试图找出解决困境的办法。正是在这样的历史语境中,我国美学家在20世纪90年代提出了生态存在论的美学观,希望借此来修复人与自然破碎的关系,并解决人类的非美生存问题。在生态美学建构过程中,大家越来越注意到对传统文化中的生态审美资源的开掘,中国画论中的生态审美智慧就是在这样的背景中进入了我们的研究视野。本文从中国画论的重要审美范畴入手,运用当代生态存在论哲学的方法分别对“比德”、“畅神”、“外师造化,中得心源”、“气韵生动”、“中和”五个范畴进行了新的阐释。我们的全部意图就在于说明中国画论是古人饱含生态存在意识的美学之思,体现了古人对诗意栖居的追寻,内蕴着古人对人与自然、社会和谐一致的理想生存状态的追求。中国画论所蕴涵的对生存的关注、整体性的思维方式,及其对自然亲和的态度等对我们今天的生态文明建设都具有积极意义。导论部分主要阐述中国画论生态审美智慧的研究意义、现状,思路与方法。文章首先探讨了中国画论与生态审美智慧的内在关联,为本课题研究建立一个基点。然后指出中国画论生态审美智慧研究不仅可以为解决生态困境与生态美学建设提供理论资源,而且可以拓展对中国画论的理解,为我们继承中国传统文化,弘扬中华文明作贡献。当前,研究中国画论特点的著作及论文虽然不少,但对中国画论中的生态审美资源进行研究的却并不多,对二者相结合的研究尚有待进一步加强。本文运用当代生态存在论审美观对中国画论重新解读,以理解的方式说明中国画论在何种意义上是生态的,并试图从中找出具有规律性的东西,以促进我们当前的美学学科建设和我们非美生存问题的解决。在研究方法上,我们除了采用范畴研究的方法与生态存在论哲学的方法外,还采用了比较的方法。需要说明的是我们进行中西比较只是对比性的,并没有抑西扬中之意。第一章探讨中国画论生态审美智慧生成的背景。我们从人类学入手,参照美国学者马文·哈里斯的研究成果,指出人类历史上曾经有过与自然和谐共生的“黄金时代”。然后通过中西方对人与自然和谐生活的回忆从侧面证明“黄金时代”存在的可能性。接着依据美国学者爱德华·奥斯本·威尔逊等人的基因——文化协同进化理论指出追求人与自然的和谐是人的天性,是人类数百万年进化过程中生成的人性基因。人类追求人与自然和谐的基因是种子,我国优越的自然环境条件、以农耕经济为主体的生产方式及以血缘关系为基础的宗法制社会结构则构成了中国画论生态审美智慧生长的现实土壤,中国画论生态审美智慧的生成最终又离不开中国哲学艺术所包含的生态智慧与审美智慧的培育。正是在各种因素的综合作用下,追求人与自然和谐的人性基因才顺利地在中华文明中得到培育,并在中国画论中集中体现出来。第二章探讨中国画论功能论中“比德”与“畅神”的生态审美智慧。与西方模仿说强调艺术的认识功能不同,比德与畅神体现了中国画论对诗意栖居的追寻。比德是建立在儒家“天人合一”思想上的美学范畴,体现了人对自然德性的亲近以及由此而产生的亲和感、愉悦感。在中国画论中,不仅山水、梅兰竹菊可以比德,其他花鸟也可以比德。自然都是充满德性的存在,都是人们亲近的对象。比德观引发了人们对自然的挚爱,人们在与自然的交往中获得了道德的满足和生命的超越。畅神说最先由宗炳提出,其哲学基础是道家的“天人合一”思想。畅神说关注的是人类的本真生存,畅神说把自然作为生命的家园,渴望在对山水的直观中与自然融为一体,得到自然的庇护。畅神说也把人引向了自然,但不是儒家充满德性的自然,而是体现着自然之道的自然。尽管比德与畅神在哲学基础以及具体内涵方面有着很大不同,但它们都把自然视为与我有内在关系的有生命的存在,并由此从自然那里而获得了亲和感、家园感,也获得了生命的诗意。第三章研究中国画论创作论“外师造化,中得心源”的生态审美智慧。“外师造化,中得心源”是唐代画论家张躁提出的审美创造原则,它是以中国“天人合一”的生态智慧为哲学基础的。中国文化认为宇宙是自然的生命过程,作为人的创造的艺术活动也不例外,也应该遵循生命的自然之道。“外师造化,中得心源”就是要求艺术家向自然学习,让艺术品从心源中流出,如自然生物般创造艺术品。“外师造化,中得心源”与西方的“镜子说”、“表现说”不同,它体现了人与自然至密的情感关系。在艺术创造过程中,艺术家抱着平等、亲和的态度,在自然中优游,在本真的境域中与自然照面,最终与自然万物融为一体。艺术创造就是艺术家回归自然的过程。正是在“天人合一”的艺术创造中,艺术家找到了还乡之路,回到了自由嬉戏的生存境域之中,获得了精神的自由与解放。艺术家与其说是为了艺术创造,倒不如说是对本源之境的渴慕与追寻。第四章研究中国画论“气韵生动”的生态审美智慧。“气韵生动”是南齐画家谢赫提出的审美范畴,其哲学基础是中国文化的生命精神与元气本根论思想。“气韵生动”就是生命的自然节奏,是宇宙生命的礼赞。“气韵生动”既是批评标准,又是创作原则。作为批评标准,它关注的是艺术家是否表现了自然活泼泼的生命,是否表现出了宇宙生命的整体。“气韵生动”之美不是把表象与主体联接后产生的快感,而是人与自然生命交融后的共通感、和谐感。在对自然之美的观照中,人的生命得到了超越。作为审美创造原则,它要求艺术家要有一颗化育万物的仁心,绘画题材要充分体现宇宙生命精神,构图要气脉不断,用笔要意在笔先。总之,在创作过程中始终要遵守宇宙生命的自然之道。对于中国艺术家而言,美就产生在艺术生命的创造中,而不在对它的征服占有中。无论作为品评标准还是作为创造原则,“气韵生动”都体现了古典的生态人文主义精神。第五章研究中国画论“中和”范畴的生态审美智慧。“中和”作为中华民族的审美理想其理论根基是先秦时期的尚中思想与尚和思想,以及它们的结合体中和思想,这是古人饱含生态意识的存在之思。“中和”是以“执两用中”的适度性原则为基础,以“天人之和”为核心的整体之美、生命之美。它不仅反映了古人对宇宙生命和谐共生本性的认识,揭示了自然生命繁育发展的生态规律,而且体现了古人参天化育的人文主义情怀。中国画学以宇宙生命的广大和谐为最高境界,具体体现为人与自身的和谐、人与社会的和谐、自然生命的和谐,以及人与自然的和谐四个层面。在艺术创造过程中,艺术家要持守中和之道,保持中正平和的心态,以自己的灿然仁心去发育天地万物的生命。在构图、笔墨等作品构成的形式方面也渗透着浓郁的生态意识,艺术家创造的应是人与自然和谐共生的生态存在之境。中和美是生命和谐的欢乐颂,是泛爱众生的伟大人性的礼赞。结语部分主要论述中国画论生态审美智慧的当代价值。通观全文,我们认为中国画论是饱含生态意识的审美智慧,其中对生存的关注、“天人合一”的哲学基础、对自然亲和的态度,以及其中蕴涵的古典的生态人文主义精神等都是我们当代美学建设的重要理论资源。中国画论生态审美智慧不仅可以帮助艺术家突破现代主义艺术的人类中心主义倾向,而且可以帮助我们重建人文主义精神,促进生态与生存问题的解决。总之,中国画论虽然是农业文明的产物,它所蕴涵的生态审美智慧却不仅有着历史的意义,也有着当代的、未来的意义。更多还原

【Abstract】 Since the 20th century, the ecological crisis has posed a huge threat not only to the humankind’s material world, but also to our spiritual kingdom, risking us in losing our spiritual home. Hence most liberal scholars, both home and abroad, have began to rethink about our culture and try to find a way out of the present ecological predicament. It was just in such a historical context that Chinese aesthetics advanced the eco-existential aesthetical theory in the 1990s, with the hope to mend the already-broken relationship between human beings and the nature, and also to solve the problem of unbeautiful human existence. In the process of constructing eco-aesthetics, scholars and researchers began to pay more and more attention to explore the eco-aesthetical resources in traditional culture. Such is the background against which the eco-aesthetical wisdoms of Chinese traditional painting theories begin to rise up in our research horizon.The Introduction mainly consists of the significance, structure and method of this study, as well as a literature review of related studies. A study of the eco-aesthetical wisdoms of Chinese traditional painting theories can not only provide theoretical recourses for solving our ecological predicament and constructing eco-aesthetics, but also broaden our understanding of Chinese traditional painting theories, hence contributing to our inheriting of Chinese traditional culture and carrying forward Chinese civilization. Nowadays, although we have had a lot of publications about the features of Chinese traditional painting theories, there are still very few studies about the eco-aesthetical resources in them, so that more effort should be made on this area. Based on the studies of other predecessors, this dissertation chooses five aesthetical categories out of Chinese traditional painting theories about function, creation and criticism, that is, "moral analogy(Bi De)", "smoothing spirit(Chang Shen)", "learning from the exterior nature while inspiring the interior original mind(Wai Shi Zao Hua, Zhong De Xin Yuan)", "Lively Spirit and Vitality(Qi Yun Sheng Dong)", and "neutralization beauty(Zhong He)", which are then reinterpreted under the contemporary eco-existential aesthetical viewpoint, so as to illustrate in what sense are the Chinese traditional painting theories ecological. Here we also try to find some regular patterns that can help the disciplinary construction of Chinese aesthetics and the resolution of the problem of unbeautiful existence. In addition to categorical research and eco-existential philosophical research method, a comparison method is also adopted here. It should be stated that the comparison study between China and the West is by no means intended to praise the former by belittling the latter.Chapter I studies the background of the formation of the eco-aesthetical wisdoms in Chinese traditional painting theories. In the light of anthropological studies represented by Marvin Harris’researches, we put forward that there had been a "golden age" when human beings were in perfect harmony with the nature, the possibility of which is then indirectly proved by Chinese as well as Western people’s recollections about the harmonious relationship with nature. To borrow from Edward Osborne Wilson and other scholars’Gene-Culture Coordination Evolution Theory, we argue that the pursuit for a harmony with nature originates from human nature itself, and has become a gene of human nature after millions of years’human evolution. Such a gene being the seed, the excellent Chinese natural environment, the mode of production revolving with agricultural economy, as well as the patriarchal social structure based on consanguinity constitute the realistic soil for the eco-aesthetical wisdoms in Chinese traditional painting theories to sprout, whose well growing is then nourished by the ecological and aesthetical wisdoms in Chinese philosophy and art. It is just under the comprehensive function of all these factors that the human gene pursuing a harmony with nature is smoothly nurtured in Chinese civilization, which is then typically embodied in Chinese traditional painting theories.Chapter II discusses the eco-aesthetical wisdoms of "moral analogy" and "smoothing spirit", which all belong to the functional theory of Chinese traditional painting theories. Different from the Western mimesis that emphasizes the epistemological function of art, "moral analogy" and "smoothing spirit" give expression to the Chinese traditional painting theories’desiring for a poetic dwelling. "Moral analogy", as an aesthetical category stemming from the Confucian idea about the "Union of Heaven and Man", embodies the humankind’s intimacy with the virtues of nature, as well as the pleasurable feeling of familiarity evolved henceforward. For Chinese traditional painting theorists, nature is the being filled with virtues and is a companion on intimate terms with human beings. On the other hand, the idea of "moral analogy" leads the humankind to associate with nature to acquire a kind of moral satisfaction and a transcending of life. "Smoothing spirit" was firstly advanced by Zong Bing, the philosophical foundation of which is the Taoist understanding of the "Union of Heaven and Man". Its interest being the "Real Existence State" of human beings, the idea of "smoothing spirit" looks nature as the home of life, and desires to become one with nature in an intuitive observing of it so as to be sheltered. The idea of "smoothing spirit" also lead the human beings to nature, the nature that embodies the natural law itself rather than filled with virtues as is understood by the Confucian school. Though quite different from each other in their philosophical foundations and concrete connotations, both "moral analogy" and "smoothing spirit" look upon nature as a living existence that has an inherent relationship with us, and hence to derive from nature the in-home feeling of familiarity as well as a poetical feeling of life.Chapter III revolves around the eco-aesthetical wisdom of the idea of "learning from the exterior nature while inspiring the interior original mind" which belongs to the creation theory of Chinese traditional painting theories. "Learning from the exterior nature while inspiring the interior original mind" refers to the principle of aesthetic creation put forward by Zhang Zao, an ancient Chinese painting theorist in Tang dynasty, which takes the "Union of Heaven and Man" as its philosophical foundation. In Chinese culture, the universe is believed to be a course of natural life. The artistic activity as a kind of human creation is no exception and should also follow the natural law of life. "Learning from the exterior nature while inspiring the interior original mind" means that the artist should learn from nature and let the artistic creation begin from the heart, so as to create art just like nature creates life. Different from the "mirror theory" as well as the "expressionistic theory", "learning from the exterior nature while inspiring the interior original mind" embodies the intimate emotional relationship between human and nature. In the process of artistic creation, the leisurely and careless artist takes an attitude of equality and amiability towards nature, encounters nature in the most innocent situation, and eventually merges into one unity with it. Artistic creation is the artist’s return to nature. It is just in such an artistic creation that the artist, in a harmonious unification between Heaven and human, finds his way back to his homeland, a life condition of free play, and hence obtaining his spiritual freedom and liberation. The artist is not so much creating his art than desiring and pursuing for his source of innocence.Chapter IV is about the eco-aesthetical wisdom of "Lively Spirit and Vitality", an aesthetic category put forward by Xie He, a famous painter in Nanqi dynasty of ancient China, the philosophical foundation of which being the life spirit and the thinking about "Yuanqi" as human essence of Chinese culture. "Lively Spirit and Vitality", referring to the natural rhythm of life, is an admiration of the universal life. It is both a standard of criticism and a principle of artistic creation. As a critical standard, it put its interest in whether the artist has given full expressions to the vivid life of nature as well as to the whole of universal life. The beauty of "Lively Spirit and Vitality" is not the pleasure derived from relating the aesthetic phenomenon to the subject, but the sympathetic pleasure stemming from a blending together of human and nature. As an artistic creative principle, it requires the artist to permeate his creation with an ecological consideration and always abide by the natural law of life creation. For Chinese artist, beauty is just created out of the endless process of life creation dominated by the circulation of qi, rather than out of a subjugation and possession of the object. No matter it being a critical principle or a creation principle, "Lively Spirit and Vitality" is an embodiment of classic ecological humanism.Chapter V discusses the eco-aesthetical wisdom of "neutralization beauty". As the aesthetic ideal of the Chinese people, "neutralization beauty" takes as its theoretical foundation the pre-Qin Dynasty highlighting of mean and harmony as well as a combination of them two, that is, the thinking about Zhong He, which is a way of thinking filled with ecological consciousness about existence. "Neutralization beauty" refers to the beauty of unity, or the beauty of life, whose base is the moderation principle of "holding both ends but adopting moderate (Zhi Liang Yong Zhong)", and whose focus is the harmony between Heaven and human. It not only reflects the ancient Chinese people’s understanding of the harmonious symbiosis between human and the universal life, reveals the ecological laws of natural life breeding, but also embodies their humanistic feeling and aspiration to breed life according to the natural law. Chinese painting theories take the general harmony of the universal life as their supreme realm, which is particularly reflected on four levels, that is, the harmony between human and themselves, the harmony between human and society, the harmony between human and the natural life, as well as the harmony between human and nature. During the process of artistic creation, the artist should abide by the principle of mean and keep a peaceful and moderate feeling, so as to breed and nourish all the life in the world with his kindness. The form of art, such as its structure and color, should also be permeated with ecological consciousness, for the artist should create a situation of ecological existence in which human and nature are in perfect harmony. The idea of "neutralization beauty" is a eulogy of life harmony, an ode for the great human nature that cherishes every life in the world.In Conclusion, I mainly talk about the contemporary significance of the eco-aesthetical wisdoms of ancient Chinese painting theories. Throughout the whole dissertation, I have argued that the ancient Chinese painting theories are aesthetically infiltrated with ecological consciousness, among which, the interest in living situation, the philosophical foundation of "the union of Heaven and man", the amiable attitude towards nature, as well as the classic ecological humanism are all important theoretical resources for our contemporary aesthetic constructions. The ecological wisdoms of ancient Chinese painting theories can not only help the artist to overcome the anthropocentrism in modern art, but also will help us to build up our modern ecological humanism and solve the ecological and living problems. To sum up, ancient Chinese painting theories, though the products of agricultural civilization contain with them important ecological wisdoms, not only for the past, but also for the present as well as for the future.更多还原