【作者】 张晓东；

【导师】 曾繁仁；

【作者基本信息】 山东大学 ， 文艺学， 2019， 博士

【摘要】 莫里斯·梅洛-庞蒂是法国著名哲学家、美学家,建构了独特的身体现象学、自然哲学、政治哲学等理论体系,为现象学的发展做出了重要的贡献。他还善于以现象学来解读绘画,把绘画与知觉问题、存在问题联系起来,形成了独特的绘画哲学。对绘画的关注贯穿梅洛-庞蒂的哲学生涯始终。与海德格尔相比,梅洛-庞蒂对绘画的思考持续时间更久,绘画在梅洛-庞蒂哲学思考中的作用和意义也更大。学界对梅洛-庞蒂的身体哲学、自然哲学、政治哲学等已经做了卓有成效的研究。相比之下,梅洛-庞蒂的绘画哲学受到的重视程度还不足够。既有研究中以梅洛-庞蒂有关绘画的专篇论文为研究对象的期刊论文较多。以梅洛-庞蒂的绘画哲学整体为研究对象的专著和博士学位论文较少。本论文尝试通过对梅洛-庞蒂相关文本的细读来把握梅洛-庞蒂的绘画哲学,并与其他理论家的相关观点进行比较分析,探究梅洛-庞蒂绘画哲学的理论意义和现实价值。绘画哲学是梅洛-庞蒂通过对绘画的哲学意义的解读来探究知觉、表达、存在等问题所产生的重要理论成果,包括绘画知觉理论、绘画表达理论与绘画存在理论。其主要观点包括:绘画是知觉艺术,体现了身体与世界之间的原初知觉联系,无论古典绘画还是现代绘画都是画家知觉体验的呈现,在现代绘画中,画家实现了自由知觉;绘画是一种表达,画家的表达体现了画家存在于世的方式,形成了风格,伟大画家的创造性表达形成了绘画世界中的“体例”,画家的表达同时也是存在居有画家身体的自我表达,存在之肉通过在我们身上的流转,在世界中的流转,将自身的神秘刻写在我们身上;绘画是一种存在活动,画家的身体之肉与存在之肉交织侵越,画家承载着存在铭刻的奥秘,运用色彩、线条等手段使存在变得可见,绘画保留着通向存在的通道,使我们避免陷入被科学操作主义宰制的噩梦之中。本文主要围绕三个问题展开:一是对梅洛-庞蒂绘画哲学思想文本的解读。通过对研究文献的梳理,我们发现既有研究往往是在研究梅洛-庞蒂的身体哲学或表达哲学的过程中辟出个别章节来介绍梅洛庞蒂对绘画的哲学思考,并未将之作为独立的完整的研究对象;对梅洛-庞蒂绘画哲学的解读还存在一定的误区,比如在引用梅洛-庞蒂不同时期的绘画理论文本时,没有考虑到长达十余年的时间跨度和梅洛-庞蒂思考重点的不断转移,将梅洛-庞蒂的所有绘画文本置于一个平滑的、共时的切面上,在文本间自由切换,没有意识到不同时期之间存在的差异;或者是把梅洛-庞蒂不同时期的绘画思考条块化、片段化,对各个时期之间的联系和发展认识不足。本文把梅洛-庞蒂的绘画哲学作为一个发展变化的整体来考察,围绕着“知觉”、“表达”、“存在”三个核心概念,重点考察在《塞尚的疑惑》、《间接的语言与沉默的声音》、《眼与心》等文本中梅洛-庞蒂对绘画的本质、起源、历史做了哪些解读,这些解读发生了哪些细微的变化,具有怎样的理论意义和现实价值。二是对梅洛-庞蒂绘画哲学的独立意义做比较研究。梅洛-庞蒂的哲学思想承自胡塞尔,在后期又受到了海德格尔的影响。据此,有研究认为梅洛-庞蒂对艺术的理解是逐渐走向海德格尔的。通过对比研究的方式,本文对梅洛-庞蒂和海德格尔的艺术观的差别做了论证,明确了梅洛-庞蒂绘画哲学的独立性意义。另外还把梅洛-庞蒂与黑格尔、谢林的艺术哲学做了比较,突出了梅洛-庞蒂绘画哲学的独特之处。三是对梅洛-庞蒂绘画哲学的意义和局限做深入研究。强调梅洛-庞蒂的绘画哲学在今天所具有的重要意义,肯定梅洛-庞蒂赋予绘画活动之于人类生存的救赎意义,强调梅洛-庞蒂对绘画艺术与存在真理的思考所具有的独特价值,呼吁在艺术形而上学的研究中重视梅洛-庞蒂的思想。同时也看到梅洛-庞蒂对绘画的社会历史维度、技术维度的忽视,对古典绘画透视法理解的简单化倾向,以绘画来拯救人类知觉生存的空想性。全文分为导论、正文、结语三个部分。导论分为三节,首先简要介绍梅洛-庞蒂的主要著作和哲学贡献,并对梅洛-庞蒂的绘画哲学做一个概述,对论文中涉及到的“世界”、“知觉”、“表达”、“存在”等术语做简要的介绍和辨析。然后对国内外学界对梅洛-庞蒂绘画哲学的研究做一个综述,肯定既有研究的成果,并指出不足。最后介绍本文的选题缘由和研究思路,阐发研究梅洛-庞蒂绘画哲学的理论意义和现实意义,提出了论文要解决的三个问题。正文分为六个章节。第一章从格式塔心理学的知觉理论、胡塞尔生活世界理论、海德格尔存在论中的“大地”和“道说”、现代画家的创作论等四个方面考察梅洛-庞蒂绘画哲学的思想资源。梅洛-庞蒂受到格式塔心理学“图形——背景”理论、行为场等理论的影响,把人类的文化创造行为锁定在从生命秩序向人类秩序的整合升华进程中;将胡塞尔的生活世界改造为知觉世界;在后期所探究的原初存在基本等同于海德格尔后期所理解的存在;通过对现代画家的创作论的解读,为他们的画论赋予了一层形而上学色彩。第二章以“知觉”概念为中心考察梅洛-庞蒂对绘画中的知觉体验问题的阐发。第一节概括梅洛-庞蒂对知觉的界定,梅洛-庞蒂认为知觉不是感觉的集合,不同于理智综合,而是人与世界之间的原初联系,世界只有在知觉体验中才能得到最本真的呈现,知觉是联觉;第二节考察梅洛-庞蒂如何从知觉出发考察塞尚绘画的哲学意义,梅洛-庞蒂认为塞尚绘画的成功之处在于回到了知觉体验,呈现了原初的世界,塞尚绘画中的事物使观者如同知觉到事物本身,而非通过事物表象联想到事物;第三节比较了梅洛-庞蒂对塞尚绘画的知觉解读与其它理论家对塞尚绘画的解读,指出梅洛-庞蒂的解读把塞尚绘画与世界的本真状态联系起来,塞尚的革新不只是图式或者风格的创新;第四节考察了梅洛-庞蒂对古典绘画的透视知觉与现代绘画的自由知觉的比较,以及建立在知觉基础上的绘画“风格”理论;第五节考察梅洛-庞蒂对原初视觉(知觉)从可见事物中生成的规定和对笛卡尔视觉哲学的批判,梅洛-庞蒂指出画家的视觉是存在借助画家身体进行的自我视看,绘画颂扬的是可见性之谜;小结考察了梅洛-庞蒂把绘画界定为知觉艺术的理论意义。第三章以“表达”概念为中心考察梅洛-庞蒂对绘画作为表达活动的界定。第一节考察了梅洛-庞蒂从身体现象学出发对“表达”论题的提出和界定,梅洛庞蒂指出艺术是一种表达,表达不同于再现和表现,是通过身体及其他表达手段对生存在世的知觉意义的揭示,塞尚的表达之难是原创性的难,是表达与被表达物的抗争的难;第二节考察梅洛-庞蒂对绘画表达与言语表达、绘画表达与身体表达、绘画表达与绘画世界等问题的分析,梅洛庞蒂指出,绘画和言语在作为创造性表达方面是一致的,绘画表达以身体表达为本源,获得了类似身体知觉一样的准永恒性,不同时代的绘画表达共同组成了“绘画世界”,成功的表达形成了“体例”;第三节考察了《眼与心》中的表达,梅洛-庞蒂把表达活动看作存在活动,画家的表达同时也是存在居有画家身体的自我表达;第四节考察梅洛-庞蒂对绘画表达中画家的自由与不自由的辩证关系的分析;小结从整体上考察了把绘画看作表达活动的理论意义。第四章以“存在”概念为中心考察梅洛-庞蒂对绘画所体现的人与存在关系的理解。第一节概括了梅洛-庞蒂对被知觉世界的界定,梅洛-庞蒂把被知觉世界看作与身体知觉相对应的一极,是为我们的自在,在身体知觉与被知觉世界之间存在着一种同谋关系;第二节分析了梅洛-庞蒂如何把塞尚追求的“回到自然”理解为回到被知觉世界,如何论证塞尚的绘画体现了我们与被知觉世界之间的原初联系;第三节分析梅洛-庞蒂在《间接的语言与沉默的声音》中对“世界”概念的延续和深化;第四节梳理梅洛-庞蒂在《自然》和《可见的与不可见的》中对原初存在的探究,梅洛-庞蒂推演了存在起初作为浑然的一体,后来开裂为事物和身体,两者之间互相注视、互相缠绕的过程;第五节考察了《眼与心》中的“存在”,梅洛-庞蒂认为绘画能够通达存在,从存在的意义大泽中汲取营养,保持了原初存在的神秘性和蛮荒意义,使我们避免陷入被科学操作主义支配的噩梦之中;小结考察了绘画作为通达存在的通道的理论意义。第五章是对梅洛-庞蒂与黑格尔、谢林、海德格尔等人的艺术哲学的对比研究。梅洛-庞蒂认为世界总是有待于去描绘,存在的表达与被表达是无止尽的,因此艺术不会走向终结,区别于黑格尔的艺术终结论。梅洛-庞蒂认为在绘画中我们可以通过感知通达存在,而非通过谢林式的理智直观。梅洛-庞蒂对存在的规定与海德格尔相似,但是梅洛-庞蒂对“肉”作为存在基质的强调保证了身体主体与原初存在之间的肉身关联,对艺术家的重视保证了存在的自我表达与艺术家的创造性表达之间的平衡。第六章从整体上考察梅洛-庞蒂绘画哲学的意义和局限。梅洛-庞蒂提供了一种以绘画为底本的艺术救赎理论;对现代绘画的哲学意义进行了深入解读,理顺了现代绘画和古典绘画的关系;对艺术与真理关系的认识既坚持了绘画对真理的承载和表达,又保证了真理内在于绘画艺术,不使绘画成为真理的附庸。但是,梅洛-庞蒂的思考始终缺乏一种真正的社会历史维度和技术维度,更多地是对绘画创作这一存在事件进行阐述,对于绘画的内容、主题方面的关注显得不足。结语回答了导言里提出的问题,分阶段说明了梅洛-庞蒂致力于解读绘画的哲学意义的原因,指出梅洛-庞蒂建立起了一种以知觉、表达和存在概念为核心的绘画哲学。通过与谢林、黑格尔、海德格尔艺术哲学的对比研究,可以发现梅洛-庞蒂的绘画哲学具有独特的理论价值和现实意义,在呼吁艺术形而上学复兴的今天更应该受到重视。结语还反思了论文存在的缺陷和不足,展望了梅洛-庞蒂绘画哲学研究的未来。总的来说,梅洛-庞蒂对绘画的起源、本质、风格等问题都有原创性极强的论述,形成了独特的绘画哲学。其用意在于通过对绘画的哲学维度的不断开掘,证明现代画家与现象家们一样都属于反对科学操作主义、重返知觉体验的现象学运动的一部分。科学操作主义把人的生存和世界的存在抽象化、简单化,可能会使人类陷入不辨真假的噩梦之中。只有重返知觉体验,恢复对原初存在的敬畏,才能避免沉沦,实现本真的知觉生存。梅洛-庞蒂提倡从哲学、艺术、文学等各个方面探究人类活动的存在根源,因为这些都是存在表达自身的形式,都为我们返回原初存在、重返人与世界本源的统一状态提供了路径。而绘画作为与身体、与原初知觉最为接近的一种表达,在这样一个时代具有独特的价值和意义。梅洛-庞蒂绘画哲学对人的现实生存的批判性反思,对科学操作主义引发的人性危机和知觉危机的警示,对人与存在关系真理的探究,都为我们在今天对美学、对艺术的思考提供了启示。更多还原

【Abstract】 As a celebrated philosopher and aesthetician in France,Merleau-Ponty established an ideological system including body phenomenology,natural ontology,and political philosophy and so on.He made an important contribution to the development of phenomenology in France.In addition,through interpreting classic art and modern art in a phenomenological perspective,Merleau-Ponty developed a characteristic philosophy of painting.Researchers in areas of philosophy have done a lot of things in researching his body theories and natural ontology.By contrast,Merleau-Ponty’s philosophy of painting did not get enough attention.My paper attempts to make a comprehensive and in-depth interpretation of Merleau-Ponty’s books and papers related to painting,in order to grasp his philosophy of painting in an even better fashion.Moreover,my paper will try to compare his philosophy of painting with others’.Merleau-Ponty’s philosophy of painting is consisted of perceptive theory of painting,theory of expression of painting and ontology of painting.In his opinion,as a perception of art,painting reflected primordial perception of our phenomenon-body.Painting embodied our authentic relationship with our life-world.Painters’ perception in modern painting is free.As an expression,painting represented the way how painters live in the world.The creative expression of great painters is also self-expression of Being.Painting is fundamentally inscriptions of Being.As an activity of Being,painting reserved a route to Being.Therefore,painting maintained our perceptual experience pure to the hilt.This metaphysical function protected us from erosion of scientific positivism.Painters made the world visible with color,line,depth and movement and so on.My paper is consisted of three parts.Firstly,my paper tries to make a detailed interpretation of Merleau-Ponty’s philosophy of painting.Through teasing out relevant research literature,we found that Merleau-Ponty’s understanding of painting was not regarded as an independent subject.Moreover,there are misunderstandings in the interpretation of his philosophy of painting.For example,his papers about painting were written during a dozen years.The emphasis of his thinking of painting changed bit by bit.This transformation has not received enough attention.My paper sees Merleau-Ponty’s philosophy of painting as an integral whole contained changes and development.Merleau-Ponty’s thinking focused on terms ’perception’,’expression’ and ’Being’.My paper will center on these three core concepts.Secondly,my paper tries to clear and definite original value and significance of Merleau-Ponty’s thinking of painting.As we all know,Merleau-Ponty’s philosophy had been influenced by Husserl and Heidegger.Some researchers think that Merleau-Ponty’s understanding of art moved towards Heidegger’s theory of art.My paper will make comparison between Merleau-Ponty’s understanding of Being and expression and Heidegger’s,in order to mark off two great theory of art.Thirdly,my paper tries to make a general evaluation of Merleau-Ponty’s understanding of painting.This evaluation will contain significance and limitation of his theory.To sum up,Merleau-Ponty brought painting and painters an ability to protect our perception from being numbed and rigidified by trend of thought of scientific positivism.In his view,painting and painters kept hope of living in this world more authentic.Everyone needs to see the world like the painter.We will highly praise unique value of Merleau-Ponty’s thinking.In the meantime,we have to see that Merleau-Ponty overlooked the social and technical dimension of painting.My paper includes three main parts:introduction,main body and conclusion.Introduction introduces Ponty’s academic achievements,academic contribution and far-reaching influence and makes an overview of Ponty’s philosophy of painting.Next my paper makes a literature review of related studies at home and aboard.In review,achievement of existing research won the recognition.But we also find some problems and insufficiency in existing research.After that my paper introduces research significance,research approach of this paper.Problem that needs to be solved include:Why Merleau-Ponty chooses Cezanne’s painting to elucidate his philosophy?What kind of philosophy of painting does Merleau-Ponty come up with?How to evaluate his theory?Main body of this paper includes six chapters.Chapter I discusses ideology sources of Merleau-Ponty’s philosophy of painting.Perception theory and behavioral theory of Gestalt psychology,theory of life-world of Husserl,theory of "Earth" and"Sagen" of Heidegger,and painting creation theory of Cezanne and Klee had an influence on Merleau-Ponty’s thinking of painting.Merleau-Ponty tried to understand relationship between consciousness and nature with theory of structure of behavior.In his view,all of the culturally creative activity should be regarded as a kind of behavior.Merleau-Ponty accepted and developed theory of life-world of Husserl.In his opinion,life-world is the perceived world at bottom.The famous quote of Husserl,"Zu den Sachen selbst",can be equated with "back to the perceived world".Merleau-Ponty’s understanding of "Being" is very close to Heidegger’s definition of "Being".Through interpreting painting creation theory of Cezanne and Klee,Merleau-Ponty acquired the evidence from painters’ creative experience to demonstrate his philosophy of painting.Chapter Ⅱ discusses core term "perception" in Merleau-Ponty’s philosophy of painting.-The first section briefly summarized Merleau-Ponty’s exposition of"perception" in Phenomenology of perception.The second section investigates that how Merleau-Ponty interpreted significance of Cezanne’s painting in perspective of perception.The third section tries to make a comparison of perceptual interpretation with other interpretation of Cezanne’s painting.The fourth section investigates the perspective perception of classical painting and free perception of modern painting.The fifth section investigates that how Merleau-Ponty defined generation of vision in the perceived world and objects.The sixth section makes a brief summary of this chapter.Chapter III discusses core term "expression" in Merleau-Ponty’s philosophy of painting.The first section briefly summarized Merleau-Ponty’s exposition of"expression" in Phenomenology of perception and investigated that how Merleau-Ponty regarded Cezanne’s painting as an expressive activity.The second section investigates four topics:similarities between painting expression and verbal exposition,painting expression and theory of painting-world,relationship between painting expression and expression of body,painting expression and "Institution".The third section tries to probe into some know-ledge about painting expression in "Eye and Mind".Merleau-Ponty put forward that painting expression is self-expression of"Being".Painter always "Lend his body to the world".We will explore "freedom" in painting expression in the next section.The fifth section makes a brief summary of significance of theory of painting expression.Chapter Ⅳ discusses core term ’Being’ in Merleau-Ponty’s philosophy of painting.The first section briefly summarized Merleau-Ponty’s definition of "the perceived world".The second section investigates "the perceived world" in Cezanne’s painting.The third section tries to explain development and change in his understanding of "world" by interpreting his paper "Indirect Language and Voices of Silence".The fourth section investigates that how did Merleau-Ponty regard "brutal Being" as a block mass of flesh.The fifth section tries to make a thorough inquiry of"Being" in "Eye and Mind".The sixth section makes a brief of sum-up of this chapter.Chapter V makes a comparison of Merleau-Ponty’s philosophy of art and other philosophers’ understanding of philosophical significance of art.The first section compares Schelling’s Philosophy of art with Merleau-Ponty’s.The second section compares Hegel’s Philosophy of art with Merleau-Ponty’s.The third section compares Heidegger’s Philosophy of art with Merleau-Ponty’s.Chapter VI makes an objective appraisal of Merleau-Ponty’s Philosophy of art.Merleau-Ponty’s philosophical understanding of modern painting provided modern painting plenty of significance.He brought painting and painter ability and responsibility to save people from erosion of scientific positivism.But seriously,the dimension of society,history and technology was awfully neglected in his understanding of modern painting.The conclusion answers three questions which are raised in introduction.Firstly,my paper has explained that why Merleau-Ponty chooses Cezanne’s painting to elucidate his philosophy.Secondly,my paper has made a brief summary of his philosophy of painting.Thirdly,my paper has made a comprehensive evaluation ofhis philosophy of painting.In general.Merleau-Ponty discusses in detail origin,essence and history of painting from the angle of philosophy.He built his theory with creativity and originality.In this sphere of "go back to things themselves",modern painters belong to the whole phenomenological philosophy movement.He gave eloquent proof of philosophical significance and redemption in modern painting.Our perceptual relation with "the perceived world" is under erosion of ideological trend of scientific thinking.If we don’t take action,we will enter into a cultural regimen.Painters became our role models.The way painters look at the world turn into one way to regain our access to brutal "Being".Merleau-Ponty’s philosophy of painting provides enlightenment for our thinking of aesthetics and art today.更多还原