【作者】 江渝；

【导师】 薛富兴；

【作者基本信息】 南开大学 ， 美学， 2013， 博士

【摘要】 近代以来,笔墨日渐成为中国绘画艺术的核心标识,20世纪的三次笔墨论争,一次强过一次地凸显出了它的重要地位。一方面,对此可以“冲击—回应”模式来理解；另一方面,这却正是中国画笔墨意识自我独立的一个必然过程。在此过程中,张仃《守住中国画的底线》提出的“局限即个性”的论断,可谓中国画笔墨自我认识的阶段性成就。而张仃先生以“工具文化”来定位笔墨,明确地从笔墨的物质性存在出发来认识其精神性审美价值的思考路径,正是本文希望继承发展的理论方向。先期考察表明,当前学界对笔墨材料的创制发展、历史演变等内容已经研究得相当充分,但对与笔墨材料相联系的观念形态的研究却相对薄弱。在总体状况上,多数研究观点分散,没有全局性的联系勾通,较为缺乏带有哲学思辨深度的内容。论文第一章,对笔墨的观念展开了清理与分析。首先从古代笔墨演进与当代笔墨研究相互观照的方式出发,对20世纪以前的笔墨演化阶段进行了简要梳理,对当代笔墨观念展开了理论反省；由此得出：不论古今,材料性都在笔墨工具、技法与观念的发展变化中起着重要的作用；并且,绘画中的笔墨有着与书法笔墨不相一致的历史发展进程。基于以上认识,本文试图以“材料”概念来定义笔墨,将其分析为：笔墨本身,即笔墨的物质存在诸形态,毛笔作为工具,墨、色作为颜料,构成了中国画艺术创作的直接媒介；笔墨运用,即人们在笔墨的运用过程中所创造的各种方法、技巧及其相关联系物,这部分即笔法、墨法等笔墨运动性的行为内容：笔墨效果,即笔墨在审美活动中所主动创造出来的精神性效果、艺术境界。根据第一章确立的理解框架,以三章分别对笔墨本身、笔墨运用和笔墨效果展开研究。第二章讨论“笔墨本身”,即笔墨材料作为物理存在之于中国画笔墨实践的价值与意义。第一节研究线条、色彩、水墨这三者在历史上相互成就却又相互抗衡的张力关系。在笔墨、墨色、笔色三对矛盾关系中,笔墨矛盾最为核心,是创作中的动力因素。墨色矛盾从属于笔墨矛盾,是笔墨抒情性的重要体现,水墨黑白二色的情感分类使得墨法具有了更为直观的感情色彩,如此一来,笔、墨的抒情性就能够相互激化产生共鸣了。笔色矛盾是中国画线性特质与西方画学的区别表现,中国画以笔墨为核心的绘画历程,使其只能选择笔而弱化色,笔色矛盾无法完满解决,笔墨的重要性一定要主导色彩的使用。第二节进一步指出,笔墨的材料特性使中国画具有了独特的时间性特征；笔墨运动与中国画中身体的运动一体两面相互配合,这两方面在指头画中实现了奇妙的统一,指头画将笔墨工具的材料特性发挥到了极致。第三章根据笔墨实践中形成的操作性制度,讨论笔墨材料在其中发挥的主动作为。第一节通过对中国画临摹、程式两方面的研究,揭示出笔墨不仅是供人使用的材料工具,它还主动地对后来人的创作路径加以约束规范,使得笔墨临摹与笔墨程式具有了自身独特的审美价值。中国画笔墨以临摹与程式使学习者自觉自愿地化入传统之中,这其实就是一个通过审美教化来实现文化认同的过程。相比较而言,西方审美认同更多是在认同过程中确证当下自我的位置；而中国笔墨实践下的审美认同却是在面向某种永恒的存在,最终由此与天地阴阳之道合一。第二节“书画同器论”通过对书画相通论诸种观点的归纳剖析,追问书画究竟如何相通的问题,认为：书画同器是书画关系的最终落脚点,其他的各项相通性质都是基于此而建立起来的。由此出发,书画相须的不对称性(即绘画需要书法而书法却无须绘画)、文人画以书入画的内在缘由才可能被我们重新理解。同时,笔墨材料的偶发效果与随意特性,正使得笔墨成为了中国古人表现“自由感”的一种方式。第四章对笔墨材料在绘画形象塑造中精神性的主动建构力量予以说明,第一节讨论中国画笔墨创作中的“意”、“笔”关系,指出“意”在不同的语境下,或是指“立意”,或是指“意趣”,或是指“生意”,或是指“笔意”,或者兼而有之；而随着中国画笔墨语言的发展,笔意之意大有后来居上的架势；同时,与笔意紧密相关的笔墨偶然性效果也进入了画家的视野,这使得与习见的“意在笔先”相反的“笔在意先”成为了可能；而笔在意先的实质其实就是存在的现象,偶然性正是笔墨直达存在的内在通道。第二节指出从笔墨材料的视角出发,才能更好地对中国画宁拙勿巧、重拙黜工的风味癖好作出解释,而以“拙”为认识核心,才可能更为深刻地理解中国画所追求的生、淡、简、逸、自然等审美风格。最后在结语部分,通过对笔墨材料存在论的分析,试图从存在的深度对前面几章的分析加以系统化抽象,认为笔墨材料是以存在者为其根本,在存在者直观当下的存在方式中与存在接触的,就此而言,中国画学并没有真正有意识地去面对存在。更多还原

【Abstract】 Since the beginning of last century, the status of brush and ink has become increasingly prominent. The20th century witnessed three debates on brush and ink. Those debates, which became fiercer and fiercer, emphasized on the importance of brush and ink. On one hand, such debates may be simply described as "Impact and Response"; on the other hand, they are also necessary procedures to establish the sense of Chinese paintings. In his essay Holding the Bottom Line of Chinese Painting Zhang Ting argued that "limitation is character". This argument, presented in the third debate, becomes an ultimate fruit of all previous discussions. Brush and ink were defined by Zhang Ting as a "tool culture", in which their values of spirit were clearly recognized according to their material qualities. Such theory set a direction for this paper to carry forward and improve.As painting materials, brush and ink’s development and evolvement have been thoroughly studied by former scholars. However, the research to their concepts, which closely connected to the materials, was relatively weak. Generally speaking, most of these viewpoints were dispersed, lopsided and shallow.In the first chapter, the concepts of brush and ink will be organized and analyzed. The evolving procedures of brush and ink before20th century will be briefly rearranged and the modern concepts of brush and ink will be penetrated on a theoretically basis. It showed that the materialized characters have played an important role in the tools, skills and concepts of brush and ink. In addition, the brush and ink used in paintings have a different developing process with those in calligraphy. Therefore, this paper tries to define brush and ink from the perspective of "material". It can be described as:(1) brush and ink, which are two different forms of material,(e.g. brushes are tools, while ink and paint are pigments.) constituted the direct media of Chinese Painting’s art creation;(2) the use of brush and ink. It refers to the diverse skills and techniques people used in drawing and painting. It can be called as brushwork or ink technique sometimes;(3) the effect of brush and ink. It includes the art effects and aesthetic styles occurred in aesthetic activities.In the second chapter, brush and ink themselves will be discussed. How the line, color and ink complement one another will be studied in the first section. There are three pairs of contradictions:brush and ink’s, ink and color’s, as well as brush and color’s. Among the three contradictions, brush and ink’s is the dominant one. It is also a dynamic factor in art creation. The ink and color’s contradiction, which subordinates to the brush and ink’s, express the emotional quality of brush and ink. Moreover, the techniques of ink-using convey a direct sentiment. The contradiction of brush and color demonstrated that Chinese paintings place weight on line, which is a distinction to the Western paintings. Chinese paintings take brush and ink as the core, which strengthen brush but weaken color. Thus, the contradiction between brush and color cannot be solved successfully. In the second section, it displayed that the materialized character of brush and ink brings a seasonal quality to Chinese paintings. The motion quality of brush and ink coordinates with that of body. The finger painting may show a perfect unite of these two motions. Therefore, it can be said that finger painting betrays perfectly the material quality of brush and ink.In the first section of chapter three, imitation and pattern-learning will be studied. According to such studies, it shows that brush and ink are not only tools but the restriction to the creation patterns of later generation. Therefore, the imitation and the pattern-learning related to brush and ink will get a special aesthetic value. When learning Chinese paintings, learners may be integrated into the art tradition gracefully by imitation and pattern-learning. This is actually a course of culture identity in the way of aesthetic education. In the western countries, the aim of culture identity is more likely to identify the artist himself. In China, however, the aim is to approach a certain kind of eternal being, and to integrate man to heaven via the process of such identification. In the second section, some viewpoints, which believe painting and calligraphy are interlinked, will be induced and analyzed. How painting and calligraphy are interlinked will also be further explored. It concluded that the root is they are created by the same tools. Based on this conclusion, the other characteristics of their interrelation are set up. Thus, it will explain the internal reason why there is dissymmetry to the mutual need between painting and calligraphy, which means painting needs calligraphy while calligraphy don’t need painting. And the internal reasons why there are calligrapnies used in literati paintings will also be interpreted. Furthermore, when brush and ink are used, their randomness and arbitrariness makes the Chinese artists express emotions more freely, thus brush and ink present a pattern for Chinese to express their freedom.In the first section of chapter four, the relation between "Yi" and brush in Chinese painting will be discussed. It points out that "Yi" has abundant meanings in different context. It may refer to conception, vitality, interest and charm, interest of brush, or have two or three of them at the same time. With the development of Chinese language, there are more and more words invented to describe the interest of brush. Thus, it may become the dominant one. Meanwhile, occasional effect, which closely related to brush and ink, is paid attention to. Therefore, the viewpoint that "painting before conceiving", which in contrast to "conceiving before painting", becomes possible. In reality, the essence of "painting before conceiving" is the process of being’s self-realization. Randomness is the way brush and ink approach to being. As a result, the being in aesthetic activities can be described as an aesthetic, subtle and occasional pleasure in one’s spirit. In the second section, it stressed that only if the brush and ink are considered as materials, the hobby that clumsiness is better than skillfulness will be better explained. Moreover, in Chinese paintings, the aesthetic style that painting should be clumsy, natural, bnet, trivial and easy will be understood more deeply.The last chapter is the conclusion. In this part, the arguments of former chapters will be systemized and abstracted in the angle of ontology. It concluded that brush and ink are based on existence, and connect to the being in the way of it. In this way, it can be claimed that Chinese painting has not take the being into consideration consciously.更多还原