【作者】 陈琳；

【导师】 黄念然；

【作者基本信息】 华中师范大学 ， 文艺学， 2020， 硕士

【摘要】 道与技的关系问题是一个亘古常新的话题,对“道—技”关系的看法集中体现了古代中国人对艺术创造与审美问题的深刻理解。本文尝试立足于中国传统艺术的创作实践以及美学理论的相关论述,从“道—技”关系对立统一、体用不二、由技进道三个理论形态的不同呈现层面入手,对传统艺术中“道—技”关系的看法进行阐释归纳,考察其在传统艺术中的具体表现和作用,从而尝试初步建构具有丰富理论蕴涵的中国“道—技”关系论。论文分为三章,加上绪论和结语,总共五个部分。绪论部分主要阐述了论文的选题缘由,分析了“道—技”关系的研究现状及主要观点,审视和反思“道—技”关系的研究得失,提出“道—技”关系论的三个逻辑层面。论文的第一章考察“道—技”关系论的第一个理论层面即“道”不离“技”。中国的传统文化思想中一直沿袭着重道轻技的观念,人们习惯将“道”与“技”看成是两种东西,但两者是互相依存的辩证统一的关系,没有对“道”的崇高识见也就不可能有“技”的精妙绝能;反过来讲,没有“技”方面的精益求精,艺术创造也不可能达到“道”的境界。论文的第二章考察“道—技”关系论的第二个理论层面即“技”在“道”中。从中国本体论哲学的体用关系来看,道与技的关系是体与用的关系,道为体,技为用,体用不二,道技不二。其中,道以“气”贯穿其中,“道”如何能转化为“技”,其中,气之作用不可小觑。从审美角度切入考察,气是道与技之间转化的关键,具有非常重要的意义,它统帅着审美主体和审美客体,既是审美创造的冲动源泉,也是主体之致思与才情的展开依据,同时还是文艺作品流传的根本,因而与艺术传达之“技”关系至为密切。本章从“道”乃“艺”之本、“技以载道”和“诗画一律”这三种“道体技用”观的不同层面,阐明“道”与“技”虽然有形上、形下的区分,然而从体用相统一与联结的视角来看,在艺术创造活动中,体乃艺术呈现的至微之道,而用则为艺术活动中之万有物象及其呈现方式,艺术世界乃本源之“道”的外化。论文的第三章考察“道—技”关系论的第三个理论层面即“技”进乎“道”。这一章转为关注创作客体形貌,着重考察艺术创作实践中“由技进道”的诸种体现,也就是说,“由技进道”的观念渗透入了艺术作品从内到外、由筋骨到血肉的各个层面。通过对“道—技”关系论的深入探析,可以发现古人围绕“道—技”关系形成的系统看法可以分为三个逻辑层面,这三个逻辑层面侧重点不同,涉及到审美与艺术创造的主要方面也是各有不同。要想深入理解中国传统的“道—技”关系论,需要从逻辑层面加以条分缕析,进行以上三个方面的的深入探究,方能建构具有丰富理论蕴涵的中国“道—技”关系论。更多还原

【Abstract】 The relationship between "Tao" and "technique" is an ever-changing topic since ancient times.The view of the relationship between "Tao" and "technique" embodies the deep understanding of artistic creation and aesthetics of ancient Chinese people.Based on the creation practice of traditional Chinese art and the relevant aesthetic theories,this thesis attempts to explain and summarize the view of "Tao-technique" relationship in traditional art,examines its specific performance and role in traditional art in order to construct a Chinese "Tao-technique" relationship theory with rich theoretical implications from different presentation levels of three theories:a unity of opposites of"Tao-technique" relationship,body-function interdependence and advance from "Tao" to"technique".The thesis is divided into five parts:introduction,three chapters of argumentation and conclusion.The introduction part mainly explains the reasons for selecting the topic,analyzes the research status and main viewpoints of "Tao-technique" relationship,examines and reflects on the achievements and defects of "Tao-technique" relationship research,and proposes three logical levels of "Tao-technique" relationship theory.Chapter One examines the first level of "Tao-technique" relationship theory,specifically,"Tao" is inseparable from "technique".Chinese traditional cultural thoughts have always followed the concept of emphasizing "Tao" and looking down upon"techniques".People are accustomed to regarding "Tao" and "technique" as two different notions.However,these two concepts are interdependent and dialectically unified.The subtle "techniques",cannot be achieved without noble insights of "Tao";vice versa,without excellence in "technique",one’s artistic achievement cannot reach the realm of"Tao".Chapter Two explores the second level of "Tao-technique" relationship theory,that is,"technique" exists in "Tao".From the perspective of body-function relationship in Chinese ontological philosophy,"Tao-technique" relationship is body-function relationship."Tao" is body and "technique" is function.Just like body and function are inseparable,"Tao" and "technique" are also interdependent."Tao" runs through"technique" in the form of Qi,and Qi plays a very important role in how "Tao" can be transformed into "technique".Judging from the aesthetic meaning of Qi,Qi is the cardinal of leading aesthetic subject,including emotion,meaning,spirit,thought,sentiment,soul and delight and aesthetic object,including object,image,shape,speech and attitude.Qi is the source of impulse for aesthetic creation,the internal basis for the combination of thoughts and talents and also the fundamental for the existence and circulation of the artistic works.Therefore,Qi is closely related to the "technique"conveyed by artistic works.Based on three viewpoints of "Tao being the body and technique being the function",namely,"Tao" being the foundation of art,"techniques"carrying "Tao" and poetry and painting being equal,this thesis clarifies that although"Tao" is metaphysical while "technique" is physical,in terms of mutual connection and unity of body and function,the smallest "Tao" is body,everything is function,and the whole world is just the manifestation of "Tao" as the root and principle.Chapter Three examines the third aspect of "Tao-technique" relationship theory,that is,"technique" advances to "Tao".This chapter turns to focus on the appearance of the creation object,focusing on the manifestation of "’Tao’ advancing from technique" in the practice of artistic creation,which means the concept of "’Tao’ advancing from technique" penetrates into the artwork from all levels.Through an in-depth analysis of the "Tao-technique" relationship theory,it can be found that the ancient Chinese people’s systematic views on the formation of the"Tao-technique" relationship can be divided into three logical levels.These three logical levels have different focuses and involve different aesthetics and artistic creation.To deeply understand the traditional Chinese "Tao-technique" relationship,it is necessary to analyze it logically and carry out research from the above three aspects to construct a Chinese "Tao-technique" relationship with rich theoretical implications.更多还原