石涛《画语录》与气论思想

发布时间：2018-02-14 14:22

本文关键词： 石涛石涛《画语录》气论一画气天人合一阴阳　出处：《中国美术学院》2014年硕士论文　论文类型：学位论文

【摘要】：石涛《画语录》是中国绘画史上的一部奇书，其因体例特殊、措词玄奥，历来众说纷纭，“一画”概念更是引无数学人竞相探索。《画语录》为何成书于明末清初？为何采用这样特殊的体例？“一画”及其它概念范畴的内涵和关系又是什么？本文以石涛《画语录》为研究对象，运用文本分析和关键词研究的方法，并结合中国古代思想史，试图进入《画语录》原文语境以解析文本的深层内涵。就结构而言，《画语录》与张载所著之《正蒙》在整体结构上有惊人的相似性，体现出“天人合一”的逻辑理路。从诸概念范畴而言，“一画”在《画语录》里是最高的哲学范畴，与中国古代气论哲学中“气”的概念范畴具有同质性，石涛所构筑的“一画”体系与以“气”为本原的气论体系具有同构性；“尊受”概念是《画语录》的工夫理论，理解“识”与“受”这对概念范畴的关键在于须掌握石涛对“受”的定义具有双向性；“蒙养”和“生活”是“尊受”工夫的具化，谈的是关于绘画的修身准则；对“资任”概念的正确把握关键在于须从哲学的高度认识“任”，“任”在《画语录》里实是一个哲学范畴，而非字义范畴，不同语境下的“任”之意义实是“任”之哲学范畴在由不同的主体和对象所构成的“任”的关系层次中的具体变化。《画语录》所贯彻的核心理念有两点：一是天人合一理念，《画语录》中无论是从十八章的整体布局，还是围绕“一画”所设立的一系列概念范畴，甚至是一些篇章的行文结构，都体现出天人合一的内在性和循环性；二是阴阳变化理念，石涛在体认天地变化之大法时，或不自觉或有意识将一切事物以阴阳对待，最明显的特征是《画语录》出现的命题往往是成对的，体现出石涛对阴阳两体的体用。从《画语录》中所涉及到的问题层次，《画语录》可剥离出三条脉络：首先是观念的脉络，其次是体用的脉落，再次是创作的脉落。这三条脉落串联起各章节、各概念范畴内在的联系，并始终涵摄天地人三才，给出了天、地、人各自的范畴。《画语录》玄奥难懂的一个原因，是因石涛由哲学向画学贯穿的过程中，对一些问题的探讨在范畴层次上存在落差，或层次与层次之间的过渡没有交待清楚，或各章中论述主体不相一致、连贯，令吾人读起来倍感跳跃，难以跟上石涛的“一贯”思路。《画语录》对清代画学产生了潜移默化的影响，客观上提高了清代画论的思想深度，，促进了文人画思想的成熟。通过清代画人对《画语录》思想的选择性吸收，不仅可以看到《画语录》思想与代表官方意识形态的正统画学在思想观念上的本质分歧，也反映出清代以后世人在理解《画语录》上出现了断层。
[Abstract]:Shi Tao's "Quotations of painting" is a wonderful book in the history of Chinese painting. Because of its special style and mysterious wording, there have always been different opinions. The concept of "one painting" has attracted countless scholars to explore it. Why did the book come into being in the late Ming and early Qing dynasties? Why is it so special? What are the connotations and relationships of "one painting" and other conceptual categories? This paper takes Shi Tao's "drawing quotation" as the research object, uses the method of text analysis and keyword research, and combines with the history of ancient Chinese thoughts, tries to enter the original context of "painting quotation" in order to analyze the deep connotation of the text. In terms of structure, there is a striking similarity in the overall structure between the Picture Quotations and Zhang Zai's "Zhengmeng". It embodies the logical principle of "the unity of nature and man". In terms of various conceptual categories, "one painting" is the highest philosophical category in the quotation of painting, and it is homogeneous with the concept category of "Qi" in ancient Chinese philosophy of Qi theory. The system of "one painting" constructed by Shi Tao has the same structure with the system of Qi theory based on "Qi", and the concept of "respecting and receiving" is the time theory of "drawing quotation". The key to understand the conceptual category of "knowledge" and "receive" lies in the fact that Shi Tao's definition of "receiving" is bidirectional, that "covering and supporting" and "life" are the characteristics of "respecting and receiving", and talking about the principles of self-cultivation in painting; The key to the correct understanding of the concept of "appointees" lies in the understanding of "Ren" from the perspective of philosophy. "Ren" is in fact a philosophical category, not a category of words and meanings, in the Quotations of painting. The meaning of "Ren" in different contexts is the concrete change of philosophical category of "Ren" in the relationship level of "Ren" composed of different subjects and objects. There are two points in the core idea of "drawing Quotations": one is the idea of the unity of nature and man, the whole layout of the "drawing quotation" from 18 chapters, a series of conceptual categories set up around "one painting", and even the textual structure of some chapters. Both reflect the intrinsic and circular nature of the unity of nature and man; second, the concept of Yin and Yang changes. When Shi Tao understands the great laws of the change of heaven and earth, he either unconsciously or consciously treats all things as yin and yang. The most obvious feature is that the propositions appearing in "drawing Quotations" are often in pairs, reflecting Shi Tao's use of Yin and Yang. From the level of the problem involved in the quotation of painting, the quotation of painting can be stripped out of three threads: first, the vein of the idea, secondly, the pulse of the body, and the second, the pulse of the creation. These three veins are connected in series with each chapter. The inner relation of each concept category, and always contains the three talents of heaven, earth and man, and gives the category of heaven, earth and man. One of the reasons why it is difficult to understand is that in the course of Shi Tao's transition from philosophy to painting, there is a gap in the discussion of some problems at the category level, or the transition between the level and the level is not clear. Or in each chapter, the main body is inconsistent and coherent, which makes us feel hopping and difficult to keep up with Shi Tao's "consistent" thinking. The quotation of painting had a subtle influence on the study of painting in the Qing Dynasty, objectively improved the ideological depth of the painting theory of the Qing Dynasty, and promoted the maturation of the thought of literati's painting. Through the selective absorption of the thought of "the quotation of painting" by the painters of the Qing Dynasty, Not only can we see the essential difference between the idea of "painting quotation" and the orthodox painting theory which represents the official ideology, but also reflect the fault in understanding "painting quotation" after the Qing Dynasty.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

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