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本文试图从中国古典哲学的认识论上来解释古典绘画艺术的形式与审美原则。这种认识论包含两个主要的方面:第一、玄学对儒家哲学的反思,进而引起了艺术觉醒与语言的变革;第二、禅宗哲学与宋代新儒学之间的理论矛盾,使绘画艺术的形式原则出现了超越。本文认为,禅宗哲学的核心“自性”与文人画表现的笔墨自性之间存在认识论上的联系。以上这两种哲学认识论的前提最后归结于中国古典艺术认识论的产生:视觉之思与生命体验的超越。
This article attempts to explain the form and aesthetic principles of classical painting art from the epistemology of Chinese classical philosophy. This epistemology contains two main aspects: first, metaphysics introspection of Confucian philosophy, which in turn led to the awakening of the arts and language change; second, the theoretical contradiction between Zen philosophy and Neo-Confucianism in the Song Dynasty made the form of painting art The principle has emerged beyond. This paper argues that there is an epistemological connection between the core of “self-nature” of Zen philosophy and the performance of literati painting. The preconditions of these two kinds of epistemology of philosophy are ultimately attributed to the emergence of the epistemology of classical Chinese art: the transcendence of thinking of the mind and the experience of life.