论文部分内容阅读
石涛试图以哲学的高度 ,把他对绘画的全部认识贯通起来。他以“一”这个道家特殊的哲学概念替代了以往画论中的“道”。这是介于“道”与“万物”之间的一个概念。一方面 ,它有“道”的生成意义 ;另一方面 ,又是物自体。“一画”是人类依据于自然的创造 ,它打破了自然的原始状态 ,铭刻上人的意志。石涛在继承中国哲学关于宇宙起源、艺术起源学说基础之上 ,又强调了艺术家主体创造的因素。以此冲破因袭的成法 ,创造出一个“我法”。所以石涛认为 ,受先于识 ,要把握一画之法 ,就要强调艺术家自身对自然的感受 ,固守成法必然导致自我感受的丧失 ,惟有不受任何概念束缚的“一画”才能真实地表现自然 ,也表现自我。
Shi Tao tried to use philosophical height, all his understanding of painting together. He replaced the “Tao” in his previous theory with the special philosophical concept of “a” Taoist. This is a concept that lies between “Tao” and “All Things.” On the one hand, it has the generating meaning of “Tao”; on the other hand, it is also the thing itself. “One Painting” is the creation of mankind based on nature, which breaks the original state of nature and inscribes the will of the human being. Shi Tao inherited the Chinese philosophy on the origin of the universe, based on the theory of the origin of art, but also stressed the main factors created by the artist. In order to break through the succession of the law, to create a “law”. Therefore, Shi Tao believes that prior to knowing, to grasp the law of a painting, we must emphasize the artist’s own feelings of nature, stick to the law will inevitably lead to the loss of self-perception, but without any concept bound by the “one painting” can be truly Natural performance, but also self-expression.