【作者】 郑笠；

【导师】 朱志荣；

【作者基本信息】 苏州大学 ， 文艺学， 2009， 博士

【摘要】 庄子美学对中国古代画论的审美价值取向产生了重大而深刻的影响。庄子独特的剥离系统所成就的“道”的审美境界,正是中国古代画论对“艺”的终极诉求。这种影响自上而下、从源到流,宏观联结着微观,较为集中地体现在古代绘画境界论、神韵论、格调论、透视论、性情论与墨戏论中。庄子美学与中国古代画论的密切关系,一方面可以从“道”本体的角度探求,另一方面可以从主体观道——体道——得道——乐道的心灵轨迹中印证。研究二者之间源远流长、融合无间的关系,无论对于庄子美学抑或是中国古代画论而言都是一种突破与深化。庄子之“道”的审美生成与古代绘画境界论源流相延。庄子的“意”是言—意—道三级错位关系的核心审美范畴,在“意”范畴的审美张力下,逻辑错位完成了诗意的转换;庄子的“象”构筑于心物之间,既是道之“象”,又是“象罔”的得道方式,特殊的哲学内涵使其具有完全不同于《周易》、《山海经》构象方式的审美个性;庄子的“境”,是一个从“意”、“象”、到“象外”的生成过程,同时展开为恢宏、浑沌而飘逸的审美境界。庄子理想化的境界,对古代画论境界说产生了重大的影响。古代绘画的尚意传统,与庄子的言意之辨有着不解之缘;古代绘画的境界理论,与传统的意象思想有着密切的关联,并可追溯到庄子的审美境界。庄子之“道”的形上存在与古代绘画神韵论旨趣相契。庄子的形神观包含“形全精复”、“不形而神”、“与神为一”三个逐层深入的方面。庄子的气化思想贯通形神,将万物浑化为一,并生成为韵。这就使庄子的形、气、神、韵内在地融于一体,形成富有特色的神韵论。庄子的形神观对中国古代绘画神韵论产生了重大影响,顾恺之的“以形写神”、谢赫的“气韵生动”等著名的理论主张,均与庄子的形神观有着明显的渊源关系。后世绘画艺术的传神论与气韵论又沿着顾恺之、谢赫的精神实质一路发扬下去,形成了中国古代绘画艺术源远流长的形上美学追求传统。庄子观道的自由视角孕育了古代绘画富有中国特色的透视论。“透视”虽为西方术语,但如今已成为绘画领域通用的概念,具有普遍的意义,可以借来说明中国古代绘画有别于西方的独特透视现象。庄子反对“自我观之”的狭隘立场,提倡“以道观之”的通脱态度,在“道”的高度上,形成了自由的观物视角,后人谓为“以物观物”的审美态度。在这种观物态度的影响下,中国古代绘画的透视角度自由通脱,灵活多变,其中沈括的“以大观小”、郭熙的“步步移、面面看”与“三远”等理论主张,是具有中国特色的透视论的典型代表,是庄子“以物观物”的哲学思想向绘画领域的落实,极大地影响了中国古代绘画的艺术形态。庄子体道的淡泊心境催生了古代绘画以“淡”为宗的格调论。庄子反对五色五声,提倡素朴恬淡。庄子“朴”的思想包括“去欲”、“去伪”与“复朴”三个有破有立的层面,庄子“淡”的思想亦蕴含“虚静恬淡寂漠无为”、“不与物交,淡之至也”、“淡然无极而众美从之”三个逐级上升的层面。庄子的“朴”与“淡”在源头上形成了“平淡自然”的审美格调,对中国古代绘画的色彩观产生了重大的影响,中国绘画因此步入了绚丽归于平淡的美学历程。张彦远的“运墨而五色具”、苏轼的“寄至味于淡泊”、董其昌的“淡胜工”等主张,典型地反映了庄子的崇淡思想,“平淡自然”几乎成为文人画最高格调的代名词。庄子得道的坦荡胸怀造就了古代绘画“法天贵真”的性情论。庄子本无心构筑严谨的哲学体系,而是以感性的方式呈现所思考的一切。他以“谬悠之说,荒唐之言,无端崖之辞”的特殊表达方式,将哲学的困境挥洒为一片解衣般礴的艺术情怀,使逻辑的悖论走向性情之真。庄子的“真”,不以是否合理为标准,拒绝诉诸知性和理性,不在客观真实的范畴,而在美的国度。庄子以“谬”与“真”所浇铸的独具魅力的艺术人格,典型地体现在庄子对绘画创作——“解衣般礴”的描述中,从庄子的源头树立起来的解衣般礴的真画者形象,到画史上无数特立独行的画家,他们在总体上凝聚成中国文人所欣赏的具有“逸”的精神的艺术人格。庄子乐道的游戏精神发展为古代绘画“适一时之兴趣”的墨戏论。庄子的“适”范畴,揭示了生命个体与审美愉悦的密切关联。庄子关注人心之适,否定“适人之适”,提倡“自适其适”,追求物我双方由相谐相融而相忘的“忘适之适”。在“忘适之适”的阶段,主体进入“人与天和”的至乐体验。庄子的“天乐”融合了天地人,将宇宙自然情趣化,哲思玄想审美化,体现“与物为春”的陶然意趣,使人在游戏的愉悦中实现感性与理性、自由与法则、真与美的平衡与和谐。庄子“适”与“乐”的精神为后世文人画树立起“以画为娱则高”的价值观,强调了绘画怡悦情性的功能,发展为古代绘画的墨戏之作。综上所述,庄子对中国古代画论的影响是巨大而持久的,古代绘画境界论、神韵论、透视论、格调论、性情论、墨戏论莫不浸淫着庄子的艺术精神。这种影响不仅仅以显性的方式发生,而大面积地浸入传统文化无意识的深层,参与文人士大夫基本性格的塑造,因此日后愈益集中地体现在主导中国绘画审美趣味的重要门类——文人画的思想中。庄子美学是中国古典美学研究中的显学,中国古代画论是门类艺术理论中绕不开的重镇,深入理解庄子与中国古代画论的关系,对于把握整个中国古典美学的核心问题具有提纲挈领的作用。更多还原

【Abstract】 Chuang Tzu’s aesthetics had a gigantic and profound effect on Chinese ancient painting theory. Chuang Tzu’s aesthetic scene of‘Tao’in the special distinction system is a teminal request of Chinese ancient painting theory. The influence is formed from the beginning to the end, connected the whole with details, and shows itself in theory of land, verve, perspective, pattern, temperament and ink-play, etc. The close connection between Chuang Tzu’s aesthetic and Chinese ancient painting theory can be probed in both from the aspect of ontology of‘Tao’and from a trace of Tao observation, Tao experiencing, Tao obtaining ,Tao enjoying. Study in the close relationship between them is a breakthrough and deepening both to Chuang Tzu’s aesthetic and Chinese ancient painting theory.The aesthetic creation of Chuang Tzu’s Tao can be traced back to land-theory of Chinese ancient painting. As a key aesthetic category of tri-comlex relation among language, conception and image, the conception (YI in Chinese) of Chuang Tzu had obtained the poetic expression in terms of aesthetic explanation; the image formed between spirit and matter, either as one in Tao or as an approach into“image deceiving(XIANGWANG in Chinese)”,which were completely different from the form of image creation of the aesthetic qualities in ZHOUYI and SHANHAIJING with the special philosophic connotation; the land in CHUANG TZU has a forming process from“conception”,“image”to“image outside”with the extensive, turbid and elegant aesthetic land. The sublimate“Taoism land”of Chuang Tzu had a great effect on land’s theories of the ancient painting, whose tradition of conception advocating had undivided relations with Zhuang’s arguments of language and conception, while the land’s theories of ancient painting had close relations with the traditional doctrines of conception and image which traced back to the aesthetic land of Chuang Tzu.The metaphysic ontology of Chuang Tzu’s Tao is in harmony with the verse theory of Chinese ancient painting.The view of Chuang Tzu’s figure and spirit(XING and SHEN in Chinese) covered three gradual aspects with“full spirit with complete figure”,“spirit without figure”, and“integrity of figure and spirit”. His view of Qi-Hua run through figure and spirit, making mouse and man(everythings on earth) be the whole and forming verve in inherent harmony with figure, Qi, spirit and rhyme, such is his distinctive view of verve. It had a great effect on the view of verve for Chinese ancient painting, for example, the famous theory of“drawing spirit with figure”from Gu Kaizhi,“lifelikeness with Qi and rhyme”from Xie He and etc., have an obvious original relation with Zhuang’s view of figure and spirit, and the view of CHUANGSHEN and QIYUN in subsequent painting art had been developed along Gu and Xie’s style, forming the metaphysic aesthetic tradition in Chinese ancient painting art.Chuang Tzu’s free angle of Tao Observation gives birth to view of perspective with Chinese characteristics in ancient painting. Though it is a western term,“perspective”has been as a universal one in field of painting with all-pervading meaning. It can be used to discuss the unique perspective condition in Chinese ancient painting different from the western ones, such as the example of Chuang Tzu, he opposed the parochialist position with“self-observation”, and instead advocating the view of“enjoyment with Tao”. On the height of Tao, Zhuang formed his free perspective angle which was the so-called aesthetic view of“observation from the angle of object”. With this influence, the perspective angle of Chinese ancient painting formed the style of freedom, agility and levity. Typical arguments with Chinese characteristics such as the view of“obsevervation smallness with grand sight”from Shen Kuo,“full sight in paces”and“tri-farness”from Guo Xi and etc., confirmed Chuang Tzu’s philosophy idea of“observation from the angle of object”to the area of painting, having a great effect on the artistic modality of Chinese ancient painting.Chuang Tzu’s peaceful feeling of Tao Experiencing helps to produce pattern theory which boasts of a style of peace. Chuang Tzu argued against the view of“cinque color and cinque tone”, instead advocating the simple and indifferent attitude. His thought of“simplicity”expressed the three unitive aspects with“desire out”“fake out”and“simplicity back”; his thought with“no seeking fame”contained another three gradual aspects with“inaction indifferent to fame”,“seeking for peace without meeting object outside”and“numerous beauty coming with peaceful mind”. His natrual aesthetic pattern with original“simplicity”and“peace”had a great effect on the view of color in Chinese ancient painting, which stepped into the course of aesthetic taste from floweriness back to lightness. The great aesthetic theories like the view of“cinque colors in ink”from Zhang Yanyuan,“best gusto to lightness”from Su Shi,“lightness excelling fine workmanship”from Dong Qichang and etc., typically traced from Chuang Tzu’s aesthetic thought, the painting of“peaceful and natural”style turns to be the best one for literators.Chuang Tzu’s magnanimous bosom of Tao obtaining starts the view of temperament in ancient painting which approves of sincerity.Chuang Tzu showed himself with sensibility when considering mouse and man rather than constituting precise system of philosophy. His special words like“erroneous and leisure speech, flimflam language, and endless phraseology”had melt philosophical plight into exalted art passion, making logic paralogism towards truth of temper. No taking a stand on being with reason and no resorting to intellectuality and nous, Zhuang’s“truth”had been established in kingdom of beauty without the scope of objective reality. His unique artistic charm running through“truth”had represented the exalted painting creation, therefore, those, as a whole, with true and natural images from origin of Zhuang’s time to innumerous ones with vivid characters had agglomerated artistic personality with“leisure”spirit enjoyed by Chinese literators in painting history.Chuang Tzu’s spirit of Tao enioying develops into“ink play”theory which“fit for one’s temporary interest”in Chinese ancient painting.The category of“fit”in Chuang Tzu expressed the close correlation between life individual and aesthetic pleasure. Paying attention to“fit”in man’s mind, Zhuang advocated“fit for oneself”and explored“fit with no mind”in harmony between man and nature, rather than considering“fit for man”. Turning nature and universe into man’s sentiment, philosophy into aesthetics, and man’s contented interest with outside objects, His thought of“heaven pleasure”converged heaven, earth and man into one, which carried out the balance and harmony between sensibility and nous, freedom and restriction, truth and beauty in pleasure of game. Zhuang’s spirit of“fit”and“pleasure”built up the high view of value i.e.“painting for pleasure to be lofty”for literators in his aftertime, emphasizing the function that painting is for pleasure, and developed the ink-play style for“interest with fit to time”in history of painting.In conclusion, Chuang Tzu had a gigantic and durative effect on theories of Chinese ancient painting, whose views of land, verve, perspective, pattern, temperament and ink-play were all from his art spirit. Such influences not only displayed in apparent ways, but largely immerged into the traditional cultural unconsciousness, figuring the basic charaters of literators. Therefore, it had deeply focused on the thought of their painting which lead Chinese painting to exalted aesthetic interest. On the other hand, it is noticeable that not all influence of Chuang Tzu were right and active, some presented negative factors which had a world of bad effection. As everything has its aspect of antinomy, all in all, the most important thing is that how we can treat and use such sword with double-edge.更多还原