变化的宇宙观：中国艺术精神再阐释

发布时间：2018-07-29 18:21

【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^~、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。
[Abstract]:The Chinese culture understands the universe as a process of change; this points with western culture more from the perspective of the entity to understand the great differences in the universe. Understanding the universe from the angle of change and understanding the universe from the perspective of entity does not only involve the similarities and differences of the cosmos, but this difference is deeply related to how people understand the matter. Things, how to deal with the world, how to get the meaning of life, and so on. The view of the change of the universe is equally inseparable from the uniqueness of Chinese ancient art in many aspects, such as motif, form, expression, and so on. It is impossible to understand the unique Chinese ancient art if it does not come from a change of concept but from some secondary concepts. Form a mechanism.
Due to the attention to the process of change, Chinese culture has not developed a Western-style approach to objectification and formalization. In a changing world, everything is difficult to be grasped as a non temporal object in front of the eyes. But as a visual form of art, it has to be a kind of world. The way of image is determined. This is not a great difficulty for Western art. It only needs to abstract a more ideal "form" from the world of unsteady phenomena. On this point, geometry provides a standard paradigm for it. However, it is faced with the ancient Chinese art. The paradox of how the visual (space) form deals with the subject of change (time). Of course, the change of the ancient Chinese view of the universe is not only a time subject, but a whole set of views on the world. This set of views is constructed by many organic related aspects. These aspects include: 1. all things are an organic whole. So that one thing can deform and transform to another; the 2. pairs of two poles can transform each other or the dual poles can produce new things through interaction; 3. all things get communication and renewal through a fluid such as the "unshaped" wind, clouds, water, and gas; 4. difficult to grasp the "process", "relationship", Qi, flavor, etc. is more important than "form"; 5. varied things can be interpreted and grasped through a functional model of number (such as five lines, eight diagrams).
It is the complexity and richness of the different views of the ancient Chinese "changing cosmos", which is associated with it, and the discussion of ancient Chinese art can also be viewed through five different levels, so as to obtain a more holistic view of the mechanism of the ancient Chinese art.
The first chapter of the paper, through the textual research and interpretation, the combing of the cosmos, discusses how the cosmology has a kind of level and characteristics. At the same time, through the discussion of the related issues, the author points out that Confucianism and Taoism have a common view on the subject of change in the universe, and there are differences.
The second chapter is to explore the theme of "deformation" from the animal images of the Chinese Neolithic Age to the Shang and Zhou ceremonial instruments. The belief in animal deformation is inseparable from the concept of human, animal and even plant as a phase of the whole. It is also closely related to the worship of animal God in the early Chinese culture.
The third chapter discusses the theme of duality and transformation. The reason why the concept of duality is important is that the duality is not a dynamic balance or stability. On the contrary, the character of duality is the possibility of the change caused by the interaction of the two different factors. The dual model is not only a discussion of the Shang Zhou myth, the political mask. It is of great significance. At the same time, it constitutes a ruling principle in the Shang and Zhou ceremonial art. In addition, I have conducted an investigation through the two snake (Dragon) motif on the possible association between the images of Fu Xi Nu Wa in the fish lines, the nine Ding ornaments, the The Classic of the Great Wilderness map, the silk painting and the Chinese portrait. It is closely related to the concept of sexual intercourse and metaplasia.
The fourth chapter discusses why Chinese culture focuses on the "unformalized" power, such as wind, cloud, water, gas and other "unshaped" things. Water, cloud and gas are widely expressed in ancient Chinese art. The clouds are all over the whole Han Dynasty, and after the Tang Dynasty, water and cloud constitute the most serious in the landscape painting. At the same time, the space concept of Chinese ancient people is based on such objects, based on these objects, and has formed a unique concept of "virtual" in Chinese art.
The fifth chapter points out that, as the whole universe is regarded as a "process" of flow transformation, the Chinese Cosmological view emphasizes not the certainty of "form", but the "relationship" of the interaction between things and things, or things from one state to another, from implicit to explicit. The later art of China emphasizes the impromptu expression, and pays attention to the expression of "resembling not like". At the same time, the idea of "vivid and lively" expresses a profound sense of time.
In the sixth chapter, we have analyzed the varied and varied patterns of interpretation of nature; in contrast to these types of models, ancient Chinese art established a set of mechanisms to create all things through a simple "law". At the same time, by combing from Dong Qichang to Wang Yuanqi and Shi Tao's history of art, the paper discussed the establishment of two different cosmos patterns. The artistic tradition of the "law" and the emphasis on "nature" are the ways to produce concrete historical effects in a complementary way.
Besides the first chapter, the five chapter analyzes the specific artistic phenomena in five different aspects of the "changing cosmos". These five levels are both five different problems and different aspects of the same problem. This article attempts to outline a construction through the discussion of these five levels. From the perspective of "changing cosmology", we have a more comprehensive understanding of the phenomenon of ancient Chinese art.
【学位授予单位】：华东师范大学
【学位级别】：博士
【学位授予年份】：2009
【分类号】：J01

【参考文献】