【作者】 刘泰然；

【导师】 方克强；

【作者基本信息】 华东师范大学 ， 文艺学， 2009， 博士

【摘要】 中国文化将宇宙理解为一种变化的过程；这一点与西方文化更多地从实体的角度来理解宇宙大异其趣。从变化的角度来理解宇宙和从实体的角度来理解宇宙事实上不只涉及到宇宙观的异同，而且这种差异深刻地关系到人如何理解事物，如何与世界打交道，如何获得生命意义等一系列问题。变化的宇宙观与中国古代艺术在母题、形式、表达等诸多层面的独特性同样密不可分。如果不从一种变化的观念而是从一些次要的概念入手，是无法真正理解中国古代艺术独特的构成机制的。由于对变化的过程的注意，中国文化并没有发展出西方式地将事物对象化、形式化的做法。处在一种变化中的世界、万物是很难被作为一个置于眼前的非时间性的客体来进行把握的，但是作为一种视觉形式的艺术却不得不将世界以一种图像的方式确定下来。这对于西方艺术来说，并不构成观念与技术上的太大困难，它只需从流变不定的现象世界去抽象出某种更理想的“形式”即可，在这一点上，几何学为其提供了一种标准的范式。但是，对于中国古代艺术来说，却面临着视觉(空间)形式如何处理变化(时间)主题的悖谬。当然，对中国古代的宇宙观来说，变化不仅仅是一个时间主题，而是涉及到一整套对于世界的看法。这一套看法是由诸多有机关联的层面构成的。这些层面包括：1．万物是一个有机整体，从而一种事物可以向另一种事物变形转化；2．对偶的两极可以相互转化或对偶的两极通过相互作用可以产生新的事物；3．万物通过“不定形”的风、云、水、气这样一种流体而得到沟通与更新；4．难以把握的“过程”、“关系”、气幾、韵味等要比“形式”更重要；5．纷繁变化的万物可以通过一种功能化的数类模式(如五行、八卦)来得到阐释和把握。正是这些相关联的不同层面构成了中国古代“变化的宇宙观”的复杂性与丰富性。与之相联系，对中国古代艺术的探讨亦可通过五个不同层面来得到进行观照，从而获得对中国古代艺术构成机制的一种更整体的看法。论文的第一章，通过文字学的考释、宇宙观的梳理来论述作为一种变化的宇宙观具有一种怎样的层面与特征。同时，通过对相关问题的探讨，指出儒、道、释在变化的宇宙观这一主题上有着相通的看法，同时存在差异。第二章是以中国新石器时代到商周礼器上的动物图像为对象来探讨“变形”的主题。动物变形的信仰与中国文化中将人、动物乃至植物看成一个相生相化的整体这种观念不可分割，同时也与中国文化早期对于动物神的崇拜密切相关。第三章探讨对偶与转化的主题。对偶的概念之所以重要，其中一点就在于对偶所达到的并不是一种动态平衡或稳定。相反，对偶的特点正在于两种不同因素的相互作用而导致的变化的可能性。对偶模式不但在探讨商周神话、政治方面具有重要意义，同时它在商周礼器艺术中构成一种统治性原则。另外，我通过两蛇(龙)母题对人面鱼纹、九鼎纹饰、山海经图、帛画、汉画像中的伏羲女娲图像之间的可能关联进行了一种考察。双蛇(龙)母题既与生死、阴阳转化的信仰不可分割，又与雌雄同体、交媾化生的观念有着密切的联系。第四章探讨了中国文化为何将注意力放在那种无法“形式化”的力量，如风、云、水、气等“不定形”的事物上。水、云、气这些母题在中国古代艺术中有着广泛的表达，云气纹遍布整个汉代艺术，而到唐代以后，水与云气构成山水画中最重要的表现内容。同时中国古人的空间观念也是建立在这样一些物象之上，以这些物象为基础，还形成了独特的中国艺术中的“虚”的观念。第五章指出，由于将整个宇宙万物看成一个流动转化的“过程”，因而中国宇宙观强调的不是对事物确定“形式”之把握，而是事物与事物之间相互作用的“关系”，或事物由一状态到另一状态、由隐到显的居间构成。与这些观念相联系，中国后来的艺术强调即兴表达，注重“似与不似之间”的物象表现，同时“气韵生动”的观念表达了一种深刻的时间意识。第六章分析了那种阐释自然的千变万化的数类化模式；与这种数类模式相对应，中国古代艺术建立起一套通过简易的“法”来创造万物的机制。同时，通过梳理从董其昌到王原祁、石涛的艺术史谱系，探讨了建立在两种不同宇宙观模式上的艺术传统——对“法”的遵循与对“自然”的强调——是怎样以对立互补的方式产生具体的历史作用的。本论文除第一章为背景梳理外，后面五章分别联系“变化的宇宙观”的五个不同层面来对具体的艺术现象进行分析。这五个层面既是五个不同的问题，同时也是同一个问题的不同侧面。本文试图通过这五个层面的探讨来勾勒出一种建立在“变化的宇宙观”视角上的对中国古代艺术现象的更整体的理解。更多还原

【Abstract】 Chinese culture regards the universe as a process of change. And it’s quitedifferent from the entitative cosmology in the Western culture. Understanding universein perspective of change and entity do not only refer to the difference of cosmology.Furthermore this difference is related to a series of questions, such as people how tounderstand things, how to deal with the world, how to obtain the meaning of life, andso on. And the cosmology of change is also closely related to the extraordinarycharacter of the ancient Chinese art in some aspects of motif, form and expression, etc.In my opinion, it is unable to really understand the unique constitutional mechanism ofancient Chinese art if our research starts not from a perspective of change but fromsome subordinate concepts.The phenomenon of making things objectification and formalization in thewestern culture doesn’t appear in the development process of Chinese culture becauseof the attention for the change process. Although things are unlikely to be placed as animmediate atemporal object to grasp in a changing world, the art as a visual form hasto scan the world by the way of image. And it is not very difficult for western art in theconcept and technology. Because it just needs abstract ideal form from the proteanworld, at this point, the geometry has provided a standard paradigm. However, it isfaced with a paradox of vision (space) form how to deal with the motif of change (time)in the ancient Chinese art. Of course, the change is not just a motif of time, butinvolves a set of views of the world for the ancient Chinese cosmology. And this set ofviews is made up of many correlative aspects, including: First, all things is an organicwhole, thus transformation is possible between one thing and another; Second, the twopoles can transform one another or even generate new thing through interactions; Third,all things can obtain communication and rejuvenescence through amorphous thing,such as wind, clouds, water, gas, and so on; The fourth, form is not more importantthan something hard to grasp, such as“process”,“relationship”,“Qiji”and“Yunwei”.The fifth, the ever changing things can be explained and grasped by a type offunctional numeric model, for example, the Five Elements and the Eight Trigrams.It is just these correlative different aspects that constitute the complexity andrichness of the“change cosmology”in the ancient Chinese art. So we can discuss theancient Chinese art through viewing five different aspects. Meanwhile, we can obtain amore holistic view about the constitutional mechanism of the ancient Chinese art.The first chapter of the thesis aims at discussing the aspects and the characteristicsof the change cosmology through researching the language study and cosmology. Atthe same time,Ⅰpoint out that there are the same views and differences about thechange cosmology of Confucianism, Taoism, Buddhism.ChapterⅡaims at discussing the theme of“transmogrification”with the imagesof animals on the ritual implement from the Neolithic period to Shang and ZhouDynasty in China. The faith of the animal transmogrification is not only related to theconcept of regarding human and animal even plant as an integral whole, but alsoconnected with the worship of the animal God in the early Chinese culture.ChapterⅢaims at exploring the theme of duality and transformation. Why is theconcept of duality so important? One of reasons is what the duality achieved is not adynamic equilibrium or stability. In contrast, characteristics of the duality just lie in thepossibility of change as a result of the interactions of two different factors. Dual modehas significance in exploring the myth and politics of the Shang and Zhou Dynasty, atthe same time, it constitutes a reigning rule about the art of ritual implement in theShang and Zhou Dynasty. In addition, I have studied the possible correlation of theimage of Fu xi and Nu wa among the human face and fish veins, the ornamentation ofnine vessel, the map of the Classic of Mountains and Rivers, silk painting and figurebrick of the Han Dynasty through exploring the motif of double snakes (or dragon).The motif of double snake (or dragon) is related to not only the faith of transformation between life and death, yin and yang, but also the concept of hermaphroditism, coitionand palingenesis.ChapterⅣaims at discussing why the Chinese culture focus on those powersunable to be formalized, for example, something amorphous like wind, cloud, waterand air(Qi). These motifs like water, clouds and air(Qi) are represented in ancientChinese art widely, for instance, the veins of cloud and air(Qi) exist abroad in thewhole art of Han Dynasty. After Tang Dynasty, water, cloud and gas constitute themost important expressive content in the landscape. At the same time, the spaceconcept of the ancient Chinese is set up in these things. Furthermore, based on thesethings, the unique“Xu”concept in the Chinese art had come into being.ChapterⅤfocuses on elucidating what Chinese cosmology emphasize is not tograsp the certain“form”of things but the relationship of interaction between one thingand another, or the interjacent constitution of things from one status to another andfrom visible to cryptic. Associated with these concepts, the subsequent Chinese artemphasize improvisation and pay attention to the image’s performance“betweensimilar and not similar”, meanwhile, the concept of“the lively spirit of air and music”expresses a profound sense of time.ChapterⅥanalyzes the type of figure model elucidating the ever-changing nature;correspondingly with the type of figure model, the ancient Chinese art establish a set ofmechanism of creating all things by the simple“law”. At the same time, through theexploration of the lineage of art history from Tung Ch’i-ch’ang to Wang Y(u|¨)an-ch’i andShih-t’ao, I discuss the artistic tradition based on the two different models ofcosmology——following“law”and emphasizing“nature”——is how to generatespecific historical function by the way of opposition and complement.In addition to the first chapter of this thesis as the background, the subsequent fivechapters analyze the specific art phenomena by relating the different five aspects of the“changing cosmology”respectively. The five dimensions are not only five differentproblems, but also the different aspects of a problem. And I tried to show a kind ofmore holistic understanding about the phenomenon of ancient Chinese art which basedon the perspective of“changing cosmology”.更多还原