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本文以老子的思想解读石涛(1641~1720?)的《庐山观瀑图》,以其为典型范例阐释了东亚传统绘画所蕴含的道家生态美学思想。对于东亚传统绘画尤其是采用山水素材的绘画的解读十分丰富,从素材到表现形式,此类绘画和古典哲学思想都有着很深的渊源。可以说,东亚传统山水画就是“视觉性思维空间”。老子的道家哲学思维对传统山水画有很大影响,因为从特定绘画中能窥见可称之为道家情趣的诗情画意。更进一步,这些以老子的思想作为诗意基础的东亚绘画,蕴含着画家们希望融入自然韵律的东亚文化思想中固有的生态美学。
This paper interprets “Taoist Lushan Waterfalls Diagram” by Shi Tao (1641 ~ 1720?) As an example to illustrate the Taoist ecological aesthetics embodied in East Asian traditional painting. The interpretation of East Asian traditional paintings, especially the paintings of landscape materials, is very rich. From material to expression, these paintings have deep roots in classical philosophy. It can be said that traditional landscape painting in East Asia is “space of visual thinking ”. Taoist philosophical thinking of Lao Tzu has great influence on traditional landscape painting, because the poetic meaning of Taoism can be glimpsed from a specific painting. Further, these East Asian paintings based on Lao Tze’s thought as the poetic foundation embody the inherent ecological aesthetics of East Asian cultural thoughts that painters hope to integrate into the natural rhythm.