从“尊受”问题谈《画语录》的美学思想

发布时间：2018-10-11 17:48

【摘要】：传统语境的缺失,使我们在审视本土文化概念时,已俨然成为一位“异乡人”。离开了传统的语境,以西方二元对立的视角来审视传统文化只能是“盲人摸象”,见不到其宏伟整全之境。时至今日,古代中很多重要的哲理概念并没有真正为我们所理解,进而影响到了对传统艺术理论的研究。就《画语录》而言,对“尊受”问题的研究无疑有着重要的地位和意义。“受”乃整部《画语录》理论结构之枢要,不明白“受”的含义,就不可能真正理解“一画”,也就无法把握《画语录》的精神实质。本文拟从“尊受”问题入手,通过对传统哲理概念的梳理,揭示出“受”的构成形态及特点；通过“受”与“一画”关系的比较,揭示出“一画”之特点。由此展现石涛美学思想的精神实质。石涛《画语录》和《易传》有着密切的关系,尤其受到《易传》中“天”观念的影响。《画语录》中很多重要的概念均围绕“天”来展开,它构成了整部《画语录》的理论基础,是理解石涛思想的关键所在。“天”在《易传》中具有创生性,乃万物之本体,它落实在人上,赋予了人“天地之性”。“受”就是“天”的“朗现”或“天地之性”的明澈。因为“天地之性”的明澈,使人与本源之“天”相浑化,“天”的创造力通过人显现出来,表现为人本具的创造力。因此,尊“受”就是尊“天”,尊“天”之所“授”,也就是尊艺术家本具的创造力。得“受”而尊,使人之“性天”显现,使人本具的创造力迸发出来,艺术创作则进入“一画”之状态。自然而发,“如天之造生,地之造成。”“用无不神而法无不贯”,“理无不入而态无不尽”,以致法无不化、“无法而法,乃为至法”。此开《一画》、《了法》、《变化》、《尊受》诸章之理路。但人的“天地之性”常受私欲的遮蔽而不显,“天”人之间不能贯通,人本源的创造力也就无法显现。因此,艺术家需要“原始反终”之过程。所谓“原始”,就是要解除心灵的束缚,抛弃遮障我们“天地之性”的欲望、知见,使心回归于“天蒙”,使“性天”朗现,我们本具的创造力则得以彰显。此为“蒙养”一词所具的艺术家主体修养之形上意义,亦开《远尘》、《脱俗》两章之理路。然仅有“天地之性”的明澈,并不必然成为一位画家,不同的艺术门类仍需不同的技巧。技巧乃“天”之“成物力”,它在“始物力”的引领下发挥作用,保证了艺术家的创造力向“有”(画)的方面转化。由此保住了《笔墨》、《运腕》、《山川》、《皴法》、《境界》、《蹊径》、《林木》、《海涛》诸章存在之价值意义。
[Abstract]:Because of the absence of traditional context, we have become an alien when we examine the concept of local culture. Without the traditional context, the traditional culture can only be viewed from the perspective of dualistic opposition in the West. Up to now, many important philosophical concepts in ancient times have not really been understood by us, which have influenced the study of traditional art theory. As far as the quotation of painting is concerned, there is no doubt that the study of respect for reception has an important position and significance. "receiving" is the pivot of the theoretical structure of the whole painting quotation. If the meaning of "receiving" is not understood, it is impossible to really understand "one painting", and it is impossible to grasp the spiritual essence of "painting quotation". This paper begins with the question of "respect for receiving", through combing the concept of traditional philosophy, reveals the form and characteristics of "receiving", and reveals the characteristics of "one painting" by comparing the relationship between "receiving" and "one painting". This shows the spiritual essence of Shi Tao's aesthetic thought. Shi Tao's Picture Quotations and Yi Zhuan have a close relationship, especially influenced by the idea of "Heaven" in Yi Zhuan. Many important concepts in "painting Quotations" revolve around "Heaven", which forms the theoretical basis of the whole painting Quotations. It is the key to understand Shi Tao's thought. Heaven is the essence of all things in Yi Zhuan. It is implemented on man and endows him with the nature of heaven and earth. Receiving is the clarity of the nature of heaven and earth. Because of the clarity of the nature of heaven and earth, the nature of man and the nature of the source are mixed together, and the creativity of the nature of heaven is manifested through man, which is manifested as the creativity of the human being. Therefore, respect for "receive" is respect for "heaven", respect for "heaven" of the place, that is, respect the artist's own creativity. To "receive" and respect, so that the "nature of man" show, so that the original creativity burst out, artistic creation into the state of "one painting." Natural and hair, "like the creation of heaven, the cause of the earth." "using all gods and law without exception", "all principles and the state is inexhaustible", so that the law is not, "can not but law, is the law." This opens "one painting", "the Dharma", "change", "respect to receive" the logic of the chapters. However, man's nature of heaven and earth is often obscured by selfish desire. Therefore, the artist needs the process of "beginning and ending". The so-called "primeval" is to remove the bondage of the soul, abandon the desire to block our "nature of heaven and earth", make the mind return to "heaven and earth", make the "nature of nature" appear, and the creativity of our own is revealed. This is the metaphysical meaning of the artist's subject cultivation, which is also the reason of the two chapters. However, only the nature of heaven and earth does not necessarily become a painter, different categories of art still require different skills. The technique is the "material resources" of "heaven", which plays a role under the guidance of "beginning material resources", which ensures the artist's creativity to be transformed into "have" aspect. Thus preserving the value of the existence of the chapters of "pen and ink", "wrist", "mountain and river", < chapping >, "realm", "groin path", "forest tree" and "Haitao".
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J201

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