【作者】 赵超；

【导师】 金观涛； 毛建波；

【作者基本信息】 中国美术学院 ， 美术学， 2013， 博士

【摘要】 南朝宗炳的《画山水序》是中国山水画起源的理论基石。中国人正式开始画山水正是在此时。在中国绘画史上,没有哪一科绘画会有如此响亮的开始。这是因为,人物画和花鸟画都没有知识分子为其找寻正当性。即没有士夫为人物和花鸟画写专门的画论用以解释为什么要去画人物,或是为什么要去画花鸟。但是山水画却不然,在绘画技术完全不完备的情况下,由知识分子旗帜鲜明、开宗明义的突然发出震慑历史的声音：我们要画山水。这是一个非常奇特的现象。稍有艺术史常识的人都知道,但凡一个绘画理论的出现,必定是在绘画技术有了积累,能够解决基本的语言表达能力后,再与价值体系互动而产生绘画理论。人物画理论的出现就是如此,在从战国到魏晋的六百年间里,人物画技术最早成熟。于是,在价值体系更新换代的魏晋时代,顾恺之的人物画论就出现了,提出“传神论”。从这个一般意义上来说,山水画论的横空出世就显得十分特别。因为山水画的技术极其不成熟,以致其发展十分缓慢,到五代末期才逐渐兴盛起来。山水画反绘画规律的生成模式“理论在前,实践在后”的特点和它自始自终都是由士夫主导的特性(纯粹的士夫性)注定了在之后的时期里成为中国绘画的主轴。中国人画山水,为什么始于魏晋?而中国人为什么会在画山水之前,写出一篇画山水的宣言?这篇短文的理论基石是什么?这些种种关于画山水观念起源的疑问只能去这篇最早的山水画论《画山水序》中寻找。因传统知识分子,甚至新知识分子对画论不重视、方法粗率、体认不深等种种原因,民国以来的研究者对《画山水序》的哲学依据是没有深刻探究的,认为它背后的哲学观念是道家、或者说是庄学。本篇援引观念史研究的新方法：关键词搜索、文本分析对《画山水序》进行了深入细致的研究,发现了宗炳《画山水序》背后的哲学观念是玄学与佛学的二元结构,而并非二十世纪六十年代以来定性的庄学。更多还原

【Abstract】 The Southern Dynasties Tsung ping’s Hua shan-shui hsii(Introduction to Painting Landscape) is the cornerstone theory of Chinese landscape painting.ln this time,chinese officially began painting landscapes.In the history of Chinese painting, no department would have such a loud starting.This is because, figure painting and flower-and-bird painting have no intellectuals to search its legitimacy. In other words,there is no Chinese scholar-bureaucrat writing figure painting and flower-and-bird painting’s theory to explain why they going to draw these subject. But landscape painting is not, in the case of painting technique completely immature, by intellectuals At clear-cut and the outset of a sudden loud deterrent to the sound of history:"we want to paint landscapes!".This is a very strange phenomenon. Anyone who knows a little art history knowledge would known that, any theories of painting’s coming out, must be able to solve the basic language skills in painting technology has accumulated, then interact with the value system, and the painting theories appear. Such as the portrait’s theory, in six hundred years from the Chinese Warring States period to the Wei and Jin dynasties, portraits earliest mature technology. Thus, In the value system of replacement of the Wei and Jin dynasties, Gu Kaizhi ’s "chuan shen" theory coming out. Landscape painting on this general sense, turned out to be on very special. Because landscape painting technology is extremely immature, and its development is very slow, even to the the Five Dynasties late gradually flourished. So landscape painting’s anti-painting regular generation mode "theory first, practice after" characteristics and it from beginning to end is dominated by scholar-bureaucrat (pure scholar-bureaucrat Opinion) destined to become the core major of Chinese painting.. Why Chinese painting landscapes began in the Wei, Jin dynasties? Why Chinese write a Declaration of painting landscapes before painting landscapes? What is the theoretical foundation for this essay?These various questions on the origin of the concept of painting landscapes can only find out in this earliest landscape painting essay Hua shan-shui hsii. Due to traditional intellectuals,and even the new intellectuals do not attach importance to the painting theory, rough method, not deep recognition and for various reasons, researchers since the Mingguo dynasty haven’t find out Hua shan-shui hsii’s philosophical basis accurately, they label the philosophical concepts behind the essay were "Taoist" or "Zhuangzi". This paper have new method to invoke the study of the history of ideas:keyword search, text analysis to research Hua shan-shui hsii intensively, and found Tsung ping’s Hua shan-shui hsii’s philosophy behind the idea of the dual structure of "metaphysics(Xuanxue)" and "Buddhist" rather than qualitative since the1960s the Zhuangzi doctrine.更多还原