【作者】 寿勤泽；

【导师】 陈振濂；

【作者基本信息】 浙江大学 ， 中国古典文献学， 2008， 博士

【摘要】 运用德国艺术史学家沃尔夫冈倡导的艺术风格学说来观照两宋绘画史,可以看出院体画与文人画的显著风格差异,但仅仅局限于风格类型的辨析而不深入其所依据的哲学思想、价值观念异同的辨析,就像20世纪三十年代初期滕固的《关于院体画与文人画之史的考察》一文把王维绘画特质归结为“写”,把李思训绘画特质归结为“画”,其意义至多揭示了写意画与工笔画的不同艺术倾向与美感特点而已,无法透彻地阐明文人画艺术现象的本质所在。自20世纪三十年代滕固、童书业诸学者尝试运用现代艺术理论研究文人画到现在,学术界对文人画意识与艺术的渊源探讨虽然时有论见发表问世,但就整体而言,并没有取得突破性的进展。造成学术进展的障碍主要在于中国哲学史研究的局限。在近现代的中国哲学史研究中,对两宋哲学史的研究大多着眼于理学与新学,而苏洵、苏轼、苏辙为代表的蜀学却一直被置于冷落的境地。其原因在于哲学史学界总是以蜀学弱于理论思维的老眼光来看待北宋中后期哲学发展历程,一叶障目,影响了对于蜀学的科学认识与公正评价。对于蜀学研究存在的偏颇必然制约了北宋文人画思想的研究。有鉴于此,本文以蜀学学术思想的解剖为起点,通过对蜀学与洛学在人性论、人情观与文道观上对立观点的分析,深入探究以蜀学哲学观为思想基础的元祐文士集团文艺思想的丰富内涵与独特价值,并循此而进入北宋绘画思想领域,阐析元祐文士集团提出的“士人画”意识的取向、特质,阐明北宋文人画意识的兴起对于促进中国文人画艺术发展的影响及其作用。文人画肇始于北宋,有复杂的社会史、文化史原因。由于北宋在中国古代历史长河中所处的特殊地位,其政治文明、物质文明与精神文明的发展具有和此前的各个王朝所不相同的特殊之处,因此,文人画意识的兴起是与北宋政治、经济、文化、教育、学术的发展密切相关的一场艺术变革思潮,具有鲜明的时代特色与人文精神特征,在中国古代绘画史上产生了不可低估的作用。我们认为,从学理上阐释北宋蜀学思想特质与元祐文士集团的文人画意识的内在关系是深入揭示北宋绘画思想特点的一个关键,也是迄今大多数绘画史研究同行所忽略的问题。有鉴于此,本选题联系宋型文化衍生发展和蜀学发展的思想特点,剖析了以苏轼为核心的元祐文士集团的文化性格特点与学术思想特点,阐明了北宋文人画意识的价值取向、建构特点及其内部联系,揭示了蜀学思想对文人画内在品格建构的深层影响,阐述了北宋文人画的审美特点及其对于中国绘画艺术发展的深远历史意义。本文既运用西方艺术风格学、现象学、阐释学等理论来分析研究北宋文人画思想的来龙去脉与价值取向,也充分关注“唐宋变革”这一重大历史现象对于北宋文人士大夫阶层的哲学观念、精神倾向、学术趣尚、艺术意识、绘画意趣的影响方式与建构特点,考镜源流,辨析得失。本文提出的主要观点是:文人画意识的兴起,与北宋中后期蜀学思想的兴起及元祐文士集团的形成密切相关。在北宋中后期形成的文士集团中,苏洵、苏轼、苏辙等学者受到儒释道三教融合思潮的影响,在本体论、认识论、方法论上提出了系统而独到的见解,创立并发展了蜀学学派。蜀学一派具有异端与杂学的性质,崇尚权变会通,尊重文艺发展的自身规律,建构了独特的思想体系。元祐时期,以蜀学为思想基础,以苏轼、苏辙等为核心,逐渐形成了一个有相同文艺主张的元祐文士集团。受蜀学思想影响与制约,元祐文士集团在诗文与书画艺术领域都提出了自己的思想主张。在绘画艺术上,他们的一系列主张表现出鲜明的文人画意识,他们提倡绘画表现创作主体的人格与情感,倡导绘画的逸格与“墨戏”,推崇绘画的平淡天真风格,推崇绘画表现“韵”,强调“诗画本一律",注重绘画创作的寓意与象征,对绘画艺术提出了与新的时代精神与审美思潮相符合的思想,使北宋文人画意识全面兴起,为文人画艺术的繁荣发展奠定了重要的基础,推动中国绘画逐步从较为单一的造型艺术发展成诗书画印交融发展的综合造型艺术。北宋元祐文士集团在文人画艺术上的倡导之功与实践之效,对中国绘画思想与绘画艺术的成熟产生深远而持久的影响。只有充分认识这一现象,才能深入把握中国绘画史发展的总体特点与演变趋势。全文重点考察分析的有以下几点:一是从北宋思想学术发展演进的视角着眼,对蜀学兴起的思想渊源及其思想体系特点作了深入的分析,阐述了蜀学作为以苏轼为领袖的元祐文士集团的思想基础的价值与意义;二是从北宋诗文革新运动对于促进文艺思想变革的视角入手,深入阐述分析了蜀学一派文艺观的特征与价值,探究其与元祐文士集团论画时着力倡导的“士夫画”之间的内在关系;三是从蜀学思想特质与文人画意识的关系入手,阐述了北宋文人画意识的基本价值取向与文人画艺术的创新特征。更多还原

【Abstract】 It is evident to distint similarities and diversities between Yuanti Painting and Scholar Paintings North and South Song Dynasties based on zhe stylistic theory of Wolfgang Ruppert, a German critic of art. But it is not enough to study the artistic style rather than the precise comparison of its philosophical thoughts and values. For instance, in the beginning of 1930s, Wang Wei’s painting trait is concluded as "writing", Li Sixun’s as "drawing" in the paper Analysis on the Histories of Yuanti Painting and Scholar Painting written by Teng Gu. The meaning of the paper reveals at most the different artistic leanings and aesthetic feelings between Chinese Freehand Brushwork and Fine Brushwork instead of explaining thoroughly the essence of artistic phenomenon of the scholar painting. From 1930s when Teng Gu and Tong Shuye tried to apply modern artistic theory to this century, researches on the scholar painting and its artistic sources have always been issued in academia, but they haven’t made further breakthroughs in general. It is the limitation of researches on History of Chinese Philosophy that blocks the academic progress. In the study of modern Chinese philosophy, researches on History of Philosophy in North and South Song Dynasties focus on Neo-Confucianism and New Learning whilst Shu Xue represented by Su Xun, Su Shi and Su Zhe is snubbed for quite a long time. The lopsided researches on Shu Xue are bound to restrict the study of the scholar painting in North Song Dynasty.With these facts, the article further explores its abundant content and original place of these scholar groups’ thoughts of literature based upon the philosophical viewpoint of Shu Xue by taking the academic thought of Shu Xue as its starting point and analyzing the divided opinions between Shu Xue and Luo Xue in anthroposophy, human sentiment view and view of literature and ethic. Then the thesis enters the ideological realm of paintings in North Song Dynasty and deeply analyzes the value orientation of the consciousness of scholar painting in North Song Dynasty so as to explain the feature of Shu Xue as well as the orientation and characteristics of the consciousness of Literati Painting which, proposed by the scholar groups in the Period of Yuanyou, is based on the theory of Shu Xue. Moreover, it also clarifies the effects that the rising of the consciousness of scholar painting in North Song Dynasty produces on pushing forward the development of Chinese scholar painting.The scholar painting, originating in North Song Dynasty, has complicated reasons of social history and cultural history. North Song Dynasty is in the special position in the long history of ancient China because its development of political civilization, material civilization and spiritual civilization owns the unique specialty which is different from that in former dynasties in ancient China. Therefore, the rising of the consciousness of scholar painting is a trend of artistic reformation related closely to the development of politics, economy, culture, education and academy in the mid and late North Song Dynasty. This rising boasts the characteristics of the times and of the humanistic spirit, which has played a decisive role in the history of ancient Chinese painting arts.In my opinion, the academic interpretation of the inner relationship between the nature of Shu Xue thought in Sony Dynasty and the consciousness of scholar painting of the scholars in the Period of Yuanyou is the key to explore deeply the development features of painting thought in North Song Dynasty; and moreover, it is always neglected by most researchers who make a study of the history of painting arts. According to this situation, the thesis combines with the development features of Song Type Culture and Shu Xue, expounds the cultural character traits of the scholars in the Period of Yuanyou (taking Su Shi as central), and explains the value orientation, construction traits and inner relationship of the consciousness and of scholar paintings in the Period of Yuanyou in Northern Sony Dynasty in order to show the deep effects of Shu Xue on the construction of the inner character of scholar painting, and to elaborate on the aesthetic appreciation features and the profoundly historical effects on the development of Chinese art history. The paper studies the cause and effect, source and trace, and value orientation of the scholar painting in North Song Dynasty by means of western theories such as principles of art history, phenomenology and hermeneutics. Meanwhile, it also attaches great importance on the big historical event, namely, "Changes during Tang and Song Dynasties". It then traces back to the headstream and makes a precise analysis of the influences of the historical phenomenon on these scholar groups’ way of thinking in the aspects of philosophical viewpoints, ideological leanings, academic preferences, artistic consciousness and painting interest.The thesis holds the main point that the rising of the consciousness of scholar painting is closely related to the rising of Shu Xue in the middle and late North Song Dynasty as well as the formation of the scholar groups in the Period of Yuanyou. Among the scholar groups forming in the middle-latter period of Song Dynasty, the scholars in the Period of Yuanyou (taking Su Shi as central) accepted the influence of the integration of three theories, that is, Ru, Shi and Dao, created and developed Shu Xue School in philosophical and academic thoughts. The Shu Xue School wears the nature of heterodoxy and miscellaneous knowledge. It advocated "Quanbian and Huitong", shows respect for the inherent laws of aesthetic development, and builds a special kind of ideological system. The scholars in the Period of Yuanyou, affected and restricted by Shu Xue thought, point out their own opinions in the artistic realm of literature and painting. In the art of painting, a series of their views obviously show the consciousness of the scholar painting as follows: approving of the idea that paintings should display personality and emotions of the creative subject, promoting the graceful painting style and "Ink Game", praising the mild and innocent style of painting, attaching importance on the moral and symbol of the artistic creation, and proposing advice according with the new spirit of the times and aesthetic thought. The rising of the consciousness of scholar painting in North Song Dynasty, leading and affecting the development of the scholar painting, lays an important foundation for latter theory and prosperity of the scholar painting, and pushes forward the development of plastic arts of Chinese paintings from the unitary mode to the comprehensive pattern of blending poems, calligraphy and paintings. The functions of advocacy and practice in the art of the scholar painting, which are made by scholars in the Period of Yuanyou in North Song Dynasty, leave a deep and long lasting influence on the maturity of Chinese painting thought and art. In history, there is nothing to compare any teams and individuals to these scholars. After fully understanding this painting history, one can deeply grasp the general trait and developing trend of the history of Chinese paintings.The whole paper makes a main analysis in three aspects as follows. First and foremost, from the perspective of the development and evolution of thought and academy in North Song Dynasty, the thesis deeply analyzes ideological origins of Shu Xue and features of its ideological system, and clarifies the cultural meanings, i.e. Shu Xue as the ideological foundation of the scholar groups in the Period of Yuanyou (taking Su Shi as central). Secondly, from the angle of the fact that the innovation movement of literature in North Song Dynasty promotes the transformation of the thoughts of literature and art, it elaborates on the characteristics and value of the Shu Xue School as well as the inner relationship between this school and the scholar groups’ advocacy of "Literati Painting". Thirdly, from the sight of the relationship between features of Shu Xue thought and the consciousness of scholar painting, it expounds the basic value orientation of the consciousness of scholar painting in North Song Dynasty and innovative features of the scholar painting art.更多还原