八大画风与楚骚精神及其他

【作者】 何平华；

【导师】 邓乔彬；

【作者基本信息】 华东师范大学 ， 中国古代文学， 2003， 博士

【摘要】 现代中国画大师齐白石曾说：“作画能令人心中痛快，百拜不起，惟八大山人一人，独绝千古”。不仅齐白石，与八大同时代的石涛、“扬州八怪”之一的郑板桥、清末的吴昌硕以及二十世纪中国画大师无不对他推崇备至。作为中国古典绘画史上个性派绘画大师，八大山人画风不仅影响了其后的“扬州八怪”、“海上画派”，也深深沾溉了二十世纪中国画坛，甚至有论者认为他是和世界艺术史上梵高一样的伟大画家。 与明清两代个性主义画家相比，八大山人的绘画最具悲剧意识和历史品格，他也是中国绘画史上最具象征主义风格的绘画大师。从悲剧美学着眼，本论文以早期八大山人的考据研究为研究起点，结合现代艺术创作动力理论，通过对八大的诗歌创作和绘画创作的研究与分析，着重探讨中国传统诗学精神对其绘画及其风格的内在影响。 本文以“引论”、“创作动力论”和“文本风格论”三大板块组成全文的基本骨架和段落构成。“引论”部分简要回顾中国诗学发展史上最早的一场诗学辩论——诗骚之辩的发展历程。这场自汉至唐的诗学史公案不仅反映了我国封建社会发展时期，情、礼之间的尖锐冲突，同时也是两大文学流派和创作方式之间的艰难对话。以屈原为主体的楚骚精神、楚骚传统在这场辩论中以其深刻地反映了艺术的自由精神而形成了一个浪漫主义的抒情文学传统，抒情传统也成为中国文学独有的特色。楚骚精神的核心概念即是“发愤以抒情”，屈原、司马迁、韩愈、欧阳修、李贽、黄宗羲等为代表，形成了一个以“愤书”为特色的诗学传统。楚骚精神表现为：一是个体与社会的尖锐冲突，这是楚骚精神产生的社会性基础，也使楚骚精神由此获得悲剧的深度和史学的品格；二是审美创造者的孤独精神，这是艺术想象、艺术情感赖以发生的重要心理基础。屈骚传统不仅树立了一个中国士人立身处世的价值范式，同时它与孔儒不同，又以感性的方式影响后世，成为审美创造的动力之源。 “创作动力论”部分从八大所处的历史与时代背景、彼时的思想及哲学观念和时代的文学三个方面透析八大绘画的精神资源及其动力基础。 明清易祚较之中国历史上任何一个朝代的更迭其所引起的巨大历史震撼，其对整个社会及意识形态的影响都要深巨。作为朱明王室血统的八大则更具典型意义。“甲申”年，他不仅连失双亲(家亲、国亲)，还断送了儒子业，而被迫走上逃亡之路，个人与社会之间产生的巨大冲突和裂痕是楚骚精神得以产生的直接动因。其由此而来的幻灭感与孤独感“如巨石窒泉，如湿絮之遏火”，更加重了这种悲剧性心理体验，悲剧精神贯穿了他的一生。而纵观八大一生的交接，其与“易堂”人物甚得，则表明充满民族救亡精神经世致用的时代哲学也为八大楚骚精神的产生抹上了时代的底色，并起了激发和推动的作用。对楚骚传统的继承不惟八大，而是明清之际独特的遗民文化重要组成部分。在八大的思想深处，骚儒为体，禅释为用，尽管他的一生大部分时间在禅院中度过。八大楚骚精神的产生还植根于时代的文学中。时代的悲音笼罩了遗民诗群，八大诗风则典型地体现了楚骚诗学的怨刺精神。八大的诗歌，资源宏富。从他的题画诗及书法作品中，我们能清晰的发现他从陶渊明、李白、苏轼的诗歌接受中，遥接屈骚而来的抒情浪漫主义诗学传统，其诗风表面上呈现出“宋型诗”的特点，但内在的理路上仍然反映了“唐型诗”的抒情特征。 “文本风格论”部分则从象征主义特色、笔墨上的简远、构图上的怪奇三个方面阐释八大画风的构成，并由此探讨儒、释、道在形成其画风中所起的不同作用。由楚骚而来的比兴诗学传统是形成八大隐喻和象征主义风格的主要诗学源头。八大画风的隐喻象征特性不同于绘画史上模式化、类型化的原型意象，而是抉发了比兴诗学的初始意义，其象征具有整体性、体系化的特点。八大画风的简约特性虽然与其笔墨的传承有天然的联系，但“不立文字，直指本心”的禅宗美学则规约着其画风的外在走向。而较之于禅，老庄哲学对于八大更具亲和性，尤其是道家推崇的“游”的人生态度，则在八大画风中以“真”和“淡”的形式深刻地表露出来。而无论是道或释也掩盖不住他那浓重的入世情怀。八大画风的怪奇特征不仅反映了特定时代的审美风尚，同样与其对庄骚而来的抒情浪漫主义艺术传统的继承不无内在关联。 总之，中国诗学精神对绘画精神的影响，八大山人则极具典范性。“雪个精神”的涵义表现在一是生命的悲剧性体验对审美创造的动力作用，二是艺术的创新精神赋予了艺术形式的永恒意义。更多还原

【Abstract】 Qi Baishi, the leading master of modern Chinese painting once said there had been no one except Bada Shanren whose painting made one delighted and prostrate in history. As a master and giant of personality school in the history of Chinese ancient painting, Bada exerted a tremendous influence not only on the Eight Eccentrics of Yangzhou, Shanghai School Painting, but also on Chinese painting world of the 20th century. Many intellectuals and artists such as Shi Tao, Zheng Banqiao and Wu Changshuo showed great respect for Bada, some even match him with the greatest artist Gogh, Vincent van. Compared with the work of individualistic painters in Ming and Qing Dynasty, the paintings of Bada Shanren manifested more tragic consciousness and historical quality and style. He was also a master who gave expression to symbolism style most completely in Chinese painting history. Basing on the former study and tragic aesthetics theory, this thesis has approached the internal relationship between Chinese traditional poetic spirit and the establishment of Bada’ s painting style through analysis of his poems and paintings.The thesis is composed of three parts: leading exposition, discuss on creative power and discuss on text style. In the first part, the expanding course of the earliest argument between poetry and Li Sao in Chinese poetic history is reviewed. The argument that lasted from Han Dynasty to Tang Dynasty reflected the sharp conflict between passion and feudal ethics in feudal society. It also reflected the difference between their creation patterns. In this argument, Chu Sao spirit and Chu Sao tradition in which Qu Yuan was regarded as the main body reflected deeply the free spirit of arts and advanced it into a lyric literary tradition of romanticism, which became the unique characteristics of Chinese literature later. Expression under indignation was the key concept of Chu Sao spirit. As typical representatives, Qu Yuan, Sima Qian, Han Yu, Ouyang Xiu, Li Zhi, and Huang Zongyi formed a poetic inheritance school that was characterized with indignant texts. The two main points expressed in Chu Sao spirit were the sharp conflict between individual and society and the solitary spirit of the aesthetics creative persons. The sharp conflict was social foundation on which Chu Sao spirit relied for forming while the solitary spirit formed the important psychological base on which artist imagine and passion relied for appearance. Qu Saotradition not only established a value model for Chinese to conduct themselves in society but also affected later generations in a perceptual way that was different from Confucianism and became source of aesthetic creation.In the second part, a penetrating analysis is made on the spiritual resource and the motive power of Bada’ s paintings. It expands in the three respects: the historical background of the times Bada lived, the sense of philosophy and the literature.The replace of Qing Dynasty with Ming Dynasty made a greater impact on the whole society and ideology than ever before. As a prince5 s descendant, Bada5 s feeling was a typical example. In 1644, he was forced to flee from home soon after the destruction of Ming Dynasty and the death of his father. Official career was ruined and conflict with the society was the direct reason why Chu Sao spirit appeared in his paintings. Vanishing of illusion and the sense of loneliness arising therefrom strengthened the tragic psychology that ran through his whole life. As to Bada5 s contact with people, the longstanding friendship with" Yrtang" persons made known his wish to save the nation from extinction and to be of benefit to society, which helped to strengthen Chu Sao spirit as well. Carrying forward of Chu Sao tradition also became an important part of the unique culture of adherents of a former dynasty between Ming and Qing Dynasty. Bada spent all his life in Buddhist temple, but the Chan sect was only for use while Confucianism the noumenon in the depth of his heart. Bada5 s absorbing of Chu Sao spirit worked in concert with t更多还原