试论庄子思想及其对文人画创作的影响

发布时间：2018-12-24 14:03

【摘要】：庄子对中国文人画创作有着重大而深远的影响。深刻理解庄子思想和文人画的关系,对于把握中国美学是至关重要的。本文从文人画作的方法、意境及其旨趣三方面着眼,讨论分析庄子思想及其对文人画创作的影响。本文主要由三部分即三章构成。第一章考查分析了庄子“道”的思想及其对文人画创作方法的影响。首先讨论了庄子“以道观之”与文人画“以大观小”的视角。庄子“以道观之”的态度,是审美态度中的得“道”之大美境界,文人画“以大观小”的“大”就是庄子所说的“道”。只有“道”的大视角,文人画才会建立起多层次、多网络、多角度的新视角。然后讨论了庄子“自然之美”与文人画“丑拙之美”创作手法的思想渊源关系。指出,庄子视自然无为乃天下“大美”,以及他的顺应自然的无差别平等思想,这些以“道”观照、应自然的理念在文人画中得到了充分的贯彻。文人画家看重枯木怪石、看重不加修饰之自然物象所具有的独特表现力,这其中就体现着庄子这些理念的特殊的影响作用及意义。第二章考查分析了庄子通道尽意思想及其对文人画创作意境的影响。一方面讨论了庄子“通天下一气”与文人画“气韵生动”的内涵。庄子“通天下一气”,是与天地万物同在的大气磅礴之境,文人画始终融合着庄子“通天下一气”的圆融大美。只有这样的作品,才能把现实元素升华为心灵感悟,给人一种回味无穷的艺术情意。另一方面讨论了庄子“言不尽意”与文人画“画有尽而意无穷”的境界。庄子思想的核心“道”是只可意会而不可言传的,言语只会表达一定程度的“意”。庄子的言意观对后来文人画“画有尽而意无穷”的审美境界产生了深刻的影响。由于绘画的空间局限性,常常以有限代替无限,让欣赏者能够从有限的空间联想到无穷的韵味。第三章考查分析了庄子“逍遥游”思想及其对文人画创作旨趣的影响。首先分析了庄子“游心于淡”与文人画“淡泊入静”的心境。“游心于淡”是庄子所推崇的超越品格,在文人画中,形成了飘逸脱俗的绘画之道。并且我们也可以从文人画中看到一种以文人为主体的隐逸的基调,这种基调畅游于自然之中,流露出“淡”的趣味,这也正是庄子“游心于淡”精神的体现。其次考查了庄子“解衣般礴”与文人画“潇洒释然”的人格。庄子“解衣般礴”体现了“道”的哲学内涵,即心灵要摆脱一切干扰,进入精神自由的境界。文人画家在艺术创作时,要摒弃杂念,进入天人合一的“忘己”境界,这与庄子所说的悟“道”在本质上是相通的。庄子“解衣般礴”思想对文人画家艺术创作产生深远的影响,具体就表现在文人画家“潇洒释然”的艺术人格。
[Abstract]:Zhuangzi has a great and profound influence on the creation of Chinese literati paintings. A deep understanding of the relationship between Zhuangzi's thoughts and literati's paintings is very important to grasp Chinese aesthetics. This paper discusses Zhuangzi's thought and its influence on literati's painting creation from three aspects of literati painting method, artistic conception and purport. This paper consists of three parts, three chapters. The first chapter examines and analyzes the thought of Zhuangzi's Tao and its influence on the writing methods of literati paintings. First of all, it discusses Zhuangzi's view of Taoism and literati painting from the angle of view of big and small. Zhuangzi's attitude of "taking Taoism" is the great beauty of "Tao" in aesthetic attitude, and the "big" of literati painting "seeing small" is what Zhuangzi calls "Tao". Only with the great view of Tao, can literati painting establish a new view of multi-level, multi-network and multi-angle. Then it discusses the relationship between Zhuangzi's Beauty of Nature and Literati's painting of ugly and clumsy beauty. It is pointed out that Zhuangzi regards nature inaction as the "great beauty" of the world, as well as his thought of no difference and equality in conformity with nature. These ideas of "Tao", which should be natural, have been fully carried out in literati paintings. Literati painters value the withered wood and rocks and the unique expressive power of the unmodified natural images, which embodies the special influence and significance of Zhuangzi's ideas. The second chapter examines and analyzes Zhuangzi's channel intention thought and its influence on the artistic conception of literati painting. On the one hand, it discusses the connotation of Zhuangzi's "one life under the world" and the literati painting "lively charm". Zhuangzi's "one gas of the whole world" is the majestic environment with all things in heaven and earth, and the literati paintings always fuse the beauty of Zhuangzi's "one gas of the whole world". Only such works can sublimate the realistic elements into spiritual perception and give people a profound artistic feeling. On the other hand, it discusses the realm of Zhuangzi's "the meaning is not perfect" and the literati's painting "the painting has all but the meaning is infinite". The core of Zhuangzi's thought, Tao, can only be understood and unspeakable, and words can only express a certain degree of meaning. Zhuangzi's view of speech and meaning had a profound influence on the aesthetic realm of the later literati paintings. Because of the space limitation of painting, we often replace infinity with finite, so that the appreciator can associate infinite charm from the limited space. The third chapter analyzes Zhuangzi's thought of "Happy Tour" and its influence on literati painting creation purport. First of all, it analyzes the mood of Zhuangzi's "wandering heart in light" and literati's painting "indifferent into quiet". "wandering heart in light" is Zhuangzi's transcendental character. In literati painting, it forms the way of elegant painting. And we can also see from the literati painting a kind of recluse tone with literati as the main body, this kind of tone swims freely in the nature, reveals the "light" the interest, this also is the Zhuangzi "travels in the light" the spirit the embodiment. Secondly, it examines the personality of Zhuangzi's "unclothed majesty" and literati painting "natural and unrestrained relief". Zhuangzi's "decontamination" embodies the philosophical connotation of Tao, that is, the mind should get rid of all interference and enter the realm of spiritual freedom. In artistic creation, literati painters should abandon miscellaneous thoughts and enter the realm of "forgetting oneself", which is similar to Zhuangzi's "Tao" in essence. Zhuangzi's thought of "decontamination" has a profound influence on the artistic creation of literati painters, which is embodied in the artistic personality of the literati painters.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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