【作者】 樊维艳；

【导师】 林忠军；

【作者基本信息】 山东大学 ， 中国哲学， 2011， 博士

【摘要】 中国画学是由中国哲学思想文化土壤培育出的艳丽花朵,是中国哲学精神观照下的奔腾不息的生命之流。作为中国传统文化的重要一脉,它与中国哲学精神水乳交融,在精神内涵与本质追求上贯通一致,在发展演进、理论品格及思想呈现上极为亲和。在中国哲学思想的影响下,中国画学卷帙浩繁、阐释精微、义理深远而又意趣无穷,在理论体系与理论品格上,与西方画学迥然不同,具有极高的审美价值和文化价值。本文选取中国画学为研究对象,超越艺术学科的狭隘视域,从中国哲学的角度深入探究中国画学的艺术精神、本质特点以及何以如此呈现的哲学根据,对于中国画的守护、创新、发展具有一定的理论和实践意义。本文主要分以下几个部分阐述中国哲学与中国画学的内在关系：第一章从中国哲学与中国画学发展演变和基本特点来看,二者之间关系密切,中国哲学与中国画学不仅“形影相随”,而且中国哲学构成了中国画学的内在生命和灵魂。中国哲学发展经历了先秦百家之学、秦汉经学、魏晋玄学、隋唐佛学、宋明理学、清代朴学等几大阶段。在发展过程中,儒、道、佛三家哲学在发展中相互冲突,相互融摄,共同构成了中国哲学发展的主体,成为中国画学产生发展的哲学背景。中国哲学以追求天人合一为旨归,注重天地人、物我之间的相互感通和整体和谐,以人生哲学为核心,注重人的生命精神和一切万有的生命气象,以整体直观和心灵体悟为方法,以如何做人和成就圣贤人格、提升人生境界为终极追求,这构成了中国哲学的特质,也成为中国画学与西方画学不同个性的根本之所在。与中国哲学相适应,中国画学经历了不同时期的发展：在先秦时期就出现了具有一定价值的绘画思想,降至六朝,则出现了顾恺之的形神说、谢赫六法说,发展到两宋,理论的基本构架已大致确立,经元、明、清三代继续发展,形成了中国绘画特有的理论品格和与西方绘画迥然不同的理论体系,成为深具民族特色和民族精神的艺术样式,具有“思想的绘画”,“心灵的绘画”的特点,以表现天地万物的生命精神为最高原则,以塑造人的理想人格为终极目标,以笔法墨气为媒介,彰显出丰富的审美意蕴和高远的人生追求,在世界绘画史上呈现出独特的发展面貌。第二章主要论述了中国哲学天人合一的生命观和思维方式对于中国画学的审美指向、审美主题、审美情志的影响。天人合一是中国哲学的根本精神,也是中国艺术的哲学基石。天人合一旨在提高心灵境界,实现人与人、人与社会、人与自然的一体合一,这也是人的最终的生命诉求。中国古代哲学两大流派儒家和道家的天人合一思想,都是以生命和生命创造为其根本观念,所建构的天人合一模式都是生命的模式,体现着浓郁的生命精神。正是中华民族天人合一这一基本哲学思想和独特思维方式,造就了中国画学独特的审美境界,构成了中国画学的深层内核,形成了中国画学天人合一的生命观：以天人合一为审美指向,以气韵生动为审美主题,以知行合一为审美情志。在天人合一思想的影响下,中国画学成为一门向人的生命精神深层开掘的学问,强烈的生命意识和高远的生命境界构成了中国画学的内在特质和终极追求。第三章以中国哲学的有无论和言意观为根基,对中国画学虚实相生的意境论进行解读。“意境”是中国画学最核心的范畴和艺术呈现的最高理想,其审美生成凝聚着中国哲学的智慧,得益于中国哲学的滋养。中国哲学对于“有无”或“虚实”的讨论,主要有两个路向,一是道家哲学和禅宗哲学的论述,它们从虚出发,以空无为宗,尚虚贵无；另一个即是儒家哲学从实出发进行的阐释。先秦道家、儒家和魏晋玄学还对言意观进行了辨析。中国哲学的“有无”论及言意观构成了中国画学意境论的理论基石,使其形成了情景交融、虚实相生、动静相成的审美原则,整体性、空灵性、哲理性的艺术特征。意境是人对造化自然的生命体悟,是对“象”的超越,是“实”的“虚”化。画之最高境界即是人的内在生命与宇宙精神的契合为一第四章论述中国画学崇尚主体的人格论的哲学依据。挺立生命自我,树立理想人格是中国哲学文化的核心。中国哲学以“人”为中心,关切人的生命价值,重视人的心性修养,注重提高人的心灵境界,具有强烈的主体意识和道德内求思想。在中国哲学重视主体意识思想的影响下,中国画学重视主体在绘画创作中的重要作用,追求个体生命的自由与人格的完善,将艺术与人生合一,在花鸟创作中借物喻人,在山水创作中托物言志,使绘画成为展示并建构理想人格的外化形式,成为追求主体生命自由和人格独立的精神象征。与儒家及道佛哲学的理想人格相对应,中国画学也呈现出伦理人格、隐逸人格两种人格修养取向,理想人格是中国画学完善和追求的终极目标。第五章重点阐述了中国画学贵和尚变的笔墨论。中国传统哲学贵和、尚变,具有极高的智慧,中国哲学的这种智慧运用到画学领域,则造就了中国绘画独具特色的笔墨之美。中国画学在中国哲学精神的浸润下,在笔墨法度与规范、笔与墨、笔墨与物象等方面要求和谐,体现了中国绘画以和为美的审美理想。同时,中国画学以气韵生动为最高的美学原则,在笔墨技法上追求生动变化,推陈出新,用笔讲究动势、活力,用墨注重生气、灵动,在笔飞墨舞中,中国画学的生命精神、诗画意境、理想人格一一呈现,因而笔墨又是中国画学精神的物化与象征,笔墨构筑了中国传统绘画的重要美学特征和高远艺术境界。本文的创新之处：(一)以中国哲学为根基和研究视野,对中国画学的艺术精神、本质特质进行深入、系统研究,从而揭示中国画学的深层意蕴与人文价值,揭示中国画学何以如此呈现的哲学根据。目前,学界对中国画学的研究著述多建构在艺术学、美术学、美学等学科基础上,即使从中国哲学入手者,也偏于特定哲学流派或特定哲学观点下的个案研究,从中国哲学的整体高度对中国画学的基本特质作系统研究尚属首次。(二)超越艺术学科的狭隘视域,将绘画理论置于中国哲学整体视野和美学、文学、艺术学等多学科交融的纬度下考察,与当前学界较多简单化、单线式分析相比,在研究的深度和广度上有所突破。(三)以中国哲学为根基和研究视野,深入剖析了中国画学之审美理想、审美境界、审美人格的呈现理路,揭示了三者相辅相成的呈现关系,提高了中国画学的阐释深度。(四)从中国哲学崇尚主体意识的层面,系统、深入地剖析中国绘画理论人格诉求的特点,提出了中国绘画理论与儒家及道禅思想相对应的伦理人格、隐逸人格两种人格修养取向,此前学术界对此缺乏深入的研究,因而本文的努力也具有一定的创新和突破意义。本文的不足之处：(一)本文是对中国画学进行“哲学解读”的初步尝试,由于受到学术水平、学科背景等多种因素的制约,在以中国哲学为根据来分析中国画学问题时,在某些方面还存在着概念把握不够准确、运用不甚恰当的现象,如用中国哲学的“知行合一”来解读中国画学的审美情志,虽然诠释了创作主体对天人合一精神的身体力行,但论证还不够严密,有牵强之嫌,有待于在以后的研究中进一步考量、修正。(二)对中国画学思想的解读,对其审美价值和文化价值的研究,有待于进一步深入开掘和提高。以笔墨观为例,本文对中国画学的笔墨观还仅是初步阐释,分析了贵和、尚变的笔墨法度和形式规则,而对其精神意蕴则没有展开阐说。另外,笔墨作为中国画学的独特语言媒介,它不只体现了贵和尚变的哲学智慧,还深受《周易》阴阳观念、道家及玄学尚虚贵无思想的影响,进一步提高画学理论的阐释深度,将是笔者今后继续努力的方向。(三)文中某些章节的安排还存有不甚妥当之处,个别章节存在论述重复,资料反复运用现象,有待于在以后的研究中进一步完善、提高。更多还原

【Abstract】 The gorgeous flower, Chinese painting study, is fostered by Chinese philosophy cultural soil. It also becomes an irresistible surge of life stream supported by Chinese philosophy spirit. As an important part of Chinese traditional culture, Chinese painting study and philosophy spirit are in complete harmony, with the same spiritual connotation and essential pursuit. Their developments, theoretical characters as well as their ideology presentation are quite consistent. Under the influence of Chinese philosophy ideas, Chinese painting study shows us an interesting picture scroll with vast and numerous masterpieces, subtle illustration, as well as infinite and deep meaning. Different from western painting in theoretic system and character, Chinese painting study has its unique style and high aesthetic and cultural values.This article chooses Chinese painting study as its research object. From the view point of Chinese philosophy rather than the limited artistic disciplines, Chinese painting study’s artistic spirit, essential characteristics and the way to present the philosophy are analyzed. This article provides certain theoretic and practical meanings for protection, innovation and development of Chinese painting. The internal relationship between Chinese painting study and philosophy is described in the following steps:In Chapter One, the close relationship between the development and basic characteristics of Chinese philosophy and Chinese painting study is shown to us. Not only did they develop together in harmony, Chinese philosophy is the Chinese painting study’s inner life and soul. Chinese philosophy came through many stages such as the Hundred Schools in the Pre-Qin Period, the Confucian classics in Qin and Han dynasty, metaphysics in Wei and Jin dynasty, Buddhist study in Sui and Tang dynasty, Neo-Confucianism study in Song and Yuan dynasty, topology study in Qing dynasty etc. however in the process of development, through conflicting with and absorbing each other, Confucianism, Taoism and Buddhism constituted the main body of Chinese philosophy development and the philosophy background of Chinese painting study’s creation and development. With the pursuit of unity of heaven and man as its keystone, Chinese philosophy emphases the extensive exchanges and integrate harmony among heaven, earth, universal stuff and human themselves. With philosophy for life as its core, it stresses human’s living spirit and all the lives in our universe. It also regards integrate intuition and minds experiences and realization as its method, how to behave for achieving sages’personality and to ascend the realm of life as its ultimate pursuit. All the above-mentioned factors formed Chinese philosophy’s particularity and the fundamental distinction between Chinese and western painting. Consequently, Chinese painting study also has such different development stages as some valuable painting thoughts in Pre-Qin period, Gu kaizhi’s "the image and the spirit" theory and Xie he’s Six Method thoughts in Six Dynasties. The basic framework of theory has been established during the Two-Song Dynasty. With the development in Yuan, Ming and Qing dynasty, the unique theoretic characteristics and system of Chinese painting has come into being, which became a national art bearing our national features and spirits. Chinese paintings are the pictures expressing human’s thoughts and minds, and showing universal creature’s life spirits as its highest principle. Its ultimate goal is shaping human’s ideal personality. Rich aesthetic implication and lofty pursuit of life are displayed in Chinese paintings with brushwork and the use of ink. In the history of world painting, it presents a unique development outlook.Chapter Two mainly displays the life value and thinking ways of unity of heaven and human in Chinese philosophy’s influences on the aesthetic orientation, theme and emotion of Chinese painting study. Unity of heaven and human is the basic spirit of Chinese philosophy and the philosophy foundation of Chinese arts. With life as the main purpose and target, unity of heaven and human aims at improving spirit realm to realize the harmony between man and man, man and society, man and nature which is also humans’final appeal. Unity of heaven and man thoughts appeared in the two schools of ancient Chinese philosophy of Confucianism and Taoism, which all regarded life and creation of life as its fundamental idea. The unity thoughts’model is life’s pattern. Life spirit is clearly embodied in it, and the life realm among heaven, earth and human is also extended. It is the Chinese nation’s unity of heaven and man thought that creates Chinese painting study’s unique feature, deep kernel and unity life viewpoint. The viewpoint is directed by unity of heaven and man thought, with rhythmic vitality as its aesthetic theme and unity of theory and practice as its aesthetic sentiment. Under the influence of unity of heaven and man thought, Chinese painting becomes the knowledge probing the deep human spirit. The realization and realm of life are combined to be the inner qualities and ultimate pursuit of Chinese painting study.The artistic conception of Chinese painting study combined by void and solid is analyzed in Chapter Three based on the ideas about being and not being and word meaning opinion of Chinese philosophy. As the core and the ideal art presentation of Chinese painting study, artistic conception’s aesthetic generation embodies the wisdom of Chinese philosophy, benefiting from the Chinese philosophy nourishing. The discussions of "being and not being" and "void and solid" have two main results. From the point of Taoism and Zen Buddhism, void is the orientation and empty is the purpose. Void and empty are advocated. Another point is from Confucianism, they started from solid. Word meaning opinion was discussed by Taoism and Confucianism in Pre-Qin period and the metaphysic school in Wei and Jin dynasty. Based on the "being and not being" theory and words meaning opinion, the artistic conception of Chinese painting study formed the principle of exceeding limited to unlimited, blending, void-solid combination and integrated active and stable. The conception has the features of integrity, empty spirit and philosophical quality. Artistic conception is the human’s realization of nature, the deep understanding of "shape", and the "virtual" of "reality" The pictures’highest state is the unity of man’s inner life and his universal spirit.Chapter Four displays the philosophical foundation of personality theory which advocates subject. To establish moral subject and set up ideal personality is the core of Chinese philosophy culture. Human oriented Chinese philosophy is concerned of human life value, emphasis on people cultivation of moral character, focuses on improving people’s spirit realm with strong subject consciousness and moral pursuit ideas. Influenced by stressing subject consciousness thought, Chinese painting study also stresses the importance of subject. Pursuing individual freedom and personality improvement, Chinese painters impersonate the things in flower and bird painting; express their feelings in landscape painting to combine the art with their lives. The personality is described and constructed in the paintings which symbolize life’s freedom and independent personality. Corresponding to Confucian and Taoist Buddhism’s ideal personality, Chinese painting study also shows two personality orientations, ethical and hermit personality. Ideal personality is the ultimate pursuit for improvement of Chinese painting study.In Chapter Five, the harmonic and changing draw and ink theory is explained. Upholding harmony and changing is the great wisdom in Chinese philosophy, which is used in the painting field and creates the unique beauty of black ink. The harmony between ink testimonies and norms, draw and ink, ink and object is required. Therefore, the harmony oriented aesthetic idea is shown. Meanwhile, painting with rhythmic vitality is the highest aesthetic principle. When it comes to the ink technique, changing and innovation are requested. Painters are requested to draw with life and spirit, to paint with energy and agility. The life spirit, poetic conception and ideal personality are shown in the draws and paints. So draw and ink is the symbolism of Chinese painting study’s spirit, and constructs the important aesthetic characteristics and lofty artistic realm.The Innovation of this Paper:(I) Based on Chinese philosophy, the artistic spirit and essential features of Chinese painting study are analyzed deeply and systematically. Chinese painting study’s implication and humanity value and presentation are revealed. Nowadays, the studies of Chinese painting study are based on aesthetics, art and fine arts. Even from the point of Chinese philosophy, it is limited to particular philosophical schools and opinions case studies. The systematic wholesome Chinese painting study’s basic features study from Chinese philosophy is initially.(II) The painting theory is studied in multidisciplinary of Chinese philosophy, aesthetics, literature, and art rather than just artistically. This paper is a breakthrough on depth and extent compared with the simple and single disciplinary analyses.(III) With Chinese philosophy as its foundation, Chinese painting study’s aesthetic ideal, realm, and personality are researched deeply. Their connection relationship is revealed. The Chinese painting study’s interpretation is improved.(IV) From the Chinese philosophy advocating subject consciousness level, the personality pursuing of Chinese painting theories is systematically and penetratingly analyzed and the two personality orientations "ethical personality" and "hermit personality" corresponding to Confucian and Taoism Zen thoughts are pointed out. Previous academics lack the in-depth research, so this paper has certain innovation and significance.Shortages of this Paper:(I) Because of the preliminary research of philosophical analyzing of Chinese painting study and lacking of academic skills and information, some philosophical conceptions and its usage are not quite appropriate while based on Chinese philosophy to analyze the Chinese painting study. When using the unity of theory and practice theory to analyze the aesthetic emotion, plus the painter’s practice of unity of heaven and human spirit is illustrated, the arguments are not rigorous with contrived suspicion. Further study and adjusting are needed.(II) The interpretation of Chinese painting study thoughts and the research of its aesthetic and cultural values are needed to be improved. Take draw and ink theory as an example, the harmony and changing upholding rule and regulation are analyzed. But the spiritual implication is not described specifically. In addition, draw and ink in Chinese painting study not only displays harmony and changing upholding philosophical wisdom, but also contain the Taoism and metaphysics spirit.(III) There are many improper arrangements in some chapters. Repeated discussion and material using occur in some chapters. Further improvement and modification are needed.更多还原