汉代图像世界与大一统美术之诞生

发布时间：2018-04-27 04:34

本文选题：中国美术史 + 鲁灵光殿　；参考：《文艺研究》2017年03期

【摘要】：有汉一代是中国政治的大一统时代,也是哲学的大一统时代。这种哲学大一统的重要表现,就是延续了中国哲学战国中晚期出现的综合倾向,将传统道家、阴阳五行、易学、儒学都组入一个统一的天地系统,使其成为图像化的感性宇宙。汉代美术(画像砖石、帛画、漆画以及见于史载的绘事活动)所呈现的世界,正是这一图像化宇宙的视觉相等物;祥瑞、图谶和仙界则为这一图像世界规划了可达的边界。据此,理解汉代美术,其前提必然是理解汉代人纵贯天地人神的宇宙观。缺乏这一哲学乃至神学的整体背景,对于当时艺术的认知必然会陷入破碎和零乱。同时,自汉末以降,中国艺术的表现对象日益精致也日益狭隘,再也不具备汉代艺术所达至的可与宇宙等量齐观的饱满和丰盈。就此而言,重估这一时代之于中国美术和艺术史的意义,将会成为未来中国美术史或艺术史写作必须解决的重大问题。
[Abstract]:Han Dynasty is the era of Chinese politics and philosophy. The important manifestation of this kind of philosophy unification is that it continues the comprehensive tendency that appeared in the middle and late period of the warring States period of Chinese philosophy, combining the traditional Taoism, Yin Yang five elements, Yi Xue, and Confucianism into a unified heaven and earth system, so that they become the perceptual universe of image. The world presented by the Han Dynasty's fine arts (brick stone, silk painting, lacquer painting and historical painting activities) was the visual equivalent of the image-oriented universe; Xiangrui, the prophecy and the immortals planned the reachable boundary for the image world. Therefore, to understand the art of Han Dynasty, its premise must be to understand the world outlook of man and god in the Han Dynasty. In the absence of the whole background of philosophy and theology, the cognition of art at that time will inevitably fall into fragmentation and disorder. At the same time, since the end of the Han Dynasty, the objects of expression of Chinese art have become increasingly delicate and narrow, and they no longer have the fullness and fullness of the art of the Han Dynasty which can be seen on an equal scale with the universe. In this regard, reassessing the significance of this era to Chinese art and art history will become a major problem that must be solved in the future.
【作者单位】：北京师范大学哲学学院;

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