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就画论言,“崇高”迫人跋涉于世界之途,一般地以“山”为语涉与象征,“优美”则栖居于“性灵”的存在故乡,“水”乃一般的语涉与象征。中国画被称之为“山水画”乃事情必然,“山”“水”通过 “崇高”与“优美”两大审美诉求,在笔墨领域力拓出一个“仁智”的人文世界。 然而,无论作为“仁者乐山,智者乐水”提出者的孔圣,还是把“山”“水”涂抹了千年的画家文士,都对“仁智”的内在张力与冲突甚少作正面的提示教导。其实,在《论语》与《列子》,都有孔圣自认“愚”的情节。孔圣尚此,后世百代文宗国士的“蠢典”故事自不待言矣。 “仁智”也许“崇高”,有着诱人的世界呼唤;但“玄机”与冲突的黑暗不揭开,“性灵”便走不到“优美”。“还乡”仍是漫长的路。现在可以面对庶人先生了。
On the theory of painting, “sublime” is forcing people to trek around the world, generally speaking “mountain” as a symbol and “beautiful” as their hometown of “spirituality.” “Water” Symbol. Chinese painting is called “landscape painting” is something inevitable. “Mountains” and “water” through “sublime” and “beautiful” two aesthetic appeal, Rio Tinto in the field of ink and wash out a “benevolent” humanistic world. However, both Sheng-san, the proponent of Leshan benevolence, the wise man, or the painter and scribe who painted the “water” of the mountains with “water” for millennium, gave very little positive feedback on the internal tensions and conflicts of “benevolence” teach. In fact, in the “Analects of Confucius” and “Liezi”, there are holes Kong Sheng think “stupid” plot. Kong Sheng Shang this, future generations of literary and art works of the “stupid” story goes without saying. “Benevolence” may be “sublime” and have an appealing world calling. However, the “mystery” and the darkness of the conflict are not opened, and “spirituality” will not be able to go “beautiful.” “Homecoming” is still a long way. Now you can face gentleman.