【作者】 曹明；

【导师】 刘继潮；

【作者基本信息】 安徽大学 ， 美学， 2007， 硕士

【摘要】 古典山水画是中华民族独特的审美意识和思维智慧所孕育的艺术奇葩，具有深厚的文化底蕴。其独步于世界艺术之林的根源在于它的表现形式和对画面空间的理解。出于对笔墨这一民族绘画语言的执守和对西方艺术理论权威的膜拜，目前古典山水画空间理论研究不但表现为自身语汇的缺失和被殖民化，更缺乏一种建构民族话语体系的勇气和自信。我们希望通过对当前有关理论的研究，以民族艺术思维为指向，民族视觉文化为基础，系统地建构古典山水画空间理论的话语体系。现当代对古典山水画空间问题的研究可以归结为实证研究、阐释研究和诗学参照研究三个方向。实证主义参照西方古典写实主义绘画所遵循的透视原理，通过对出土文物和古代绘画作品的研究，认为中国古典山水画在画面空间处理上是科学的，是符合透视法则的。但这种研究并没有透彻理解古典山水画的创作机理，也没有摆脱透视法所依循的视点。阐释研究的主要特征在于，一方面坚持中国画的“科学性”，声称中国画在画面处理上遵循透视原则；另一方面也意识到中国的古代艺术家们笔下的“山水”并不是对客观自然的真实反映，而是人们心灵活动的某种物化形态而已。所以，古典山水画在处理画面空间时采用的是“散点透视”或“动点透视”。但正如“散点透视”或“动点透视”这些从“焦点透视”所推导出来的“新概念”、“新理论”一样，阐释研究在希图构建古典山水画空间理论的民族话语方面仍然屈服于透视原理所标榜的科学性，仍然臣服于视知觉的绝对权威。宗白华从诗学参照的角度出发，在20世纪30年代就开始研究传统山水诗画对空间境界的表现，并针对中西绘画所表现出的不同空间意识，首先开始挖掘沈括“以大观小”说的真义，认为中国画并没有运用透视法，并且始终躲避它、取消它、反对它。他以自己的丰富学识，超越了时人简单化的主客观对立，遵循了艺术自身发展的内在逻辑。对沈括“以大观小”说的理论阐释是解决古典山水画空间问题的一把密钥，但目前研究中也出现了许多盲点和误区。许多人把这里的“观”简单地置换成了“看”。通过对画论文本的分析，我们可以明确“以大观小”所揭示的古典山水画创作的内在机理是对客体自然的超越，对视觉真实的超越，也是对科学透视的回避与取消。另外，通过对沧源岩画的解读，我们可以揭示中国古代先民在原始艺术中所展现的原始空间概念和空间表现形式，并且发现在原始艺术阶段，中国的绘画就已经与西方在表现形式和创作观念上拉开了距离。我们在建构中国古代绘画理论的大厦时，必须注意到这种建立在文化传统基础上的差异性。站在视觉文化的高度来审视“以大观小”之“观”的哲学，并在艺术创作的层面上对东西方“观”的哲学进行了深刻的探讨和比较，我们就可以为古典山水画空间理论的话语体系打下更坚实的基础。西方在“视觉中心主义”的传统下，形成了一个视觉性的实践与生产系统；而东方民族的“观”之文化强调的是一种综合观察，关注的是事物的变化过程和相互间的关系。以视觉文化为指向的“以大观小”阐释研究，与古典画论中关于山水画的论述形成了融通互补的结构，共同构建了古典山水画空间结构的话语体系。中国古典山水画的空间理论体系包括两个方面：一是空间意识，它建立在哲学和文化层面上；二是画面空间，它属于古代画论所研究的“章法”或现代所说的“构图”。古代画论“章法”篇中所说的“经营位置”就是现代意义上的画面空间，它是从绘画本体上建构中国古典山水画空间理论体系的关键。成就画面空间的是古典山水画家在真山水中的独特把握方式——视觉经验，而古典山水画独特的表现形式则是建立在视觉经验基础上的层次空间。更多还原

【Abstract】 The classical landscape painting, with deep cultural tradition, is the uniqueartistic scene based on the Chinese distinctive esthetic consciousness and the wisdomof thought, noted for its manifestation and drawing space awareness. Stemming fromunswerving to the national drawing language "brush and ink" and worship to Westernart theory, the study to drawing space at present not only show the shortness ofvocabulary and colonization of language, but also deficiency of courage andself-confidence to construct national words system. Through current related study,we hope to construct classical landscape painting theory systematically, directed bynational art thought, founded by national visual culture.The study of classical landscape drawing space can be summed up to the threedirections: positivism study, explanation study and the poetic reference study.Referring to the perspective principle which the Western classical realism drawingfollows, and the study to the archaeological discoveries and ancient drawing works,Positivism research insist on that the ways to deal with drawing space are scientific,conforming to the perspective principle. However this kind of study neither have thethorough understanding to the creation mechanism, nor get rid of the viewpoint whichthe perspective relies on.The explanation study thinks that, on the one hand the Chinese traditionalpainting insists on "the scientific nature", following the perspective principle inpicture processing; On the other hand "the scenery" drawn by ancient artists was notreal reflection to the objective natural, but the kind of transformation shape throughpeople’s mind activity. Therefore, the way in processing picture space is "dispersesperspective" or "moving point perspective". However these "new perspectives" arethe same as "focus perspective", submitting to the so called "scientific nature"absolutely ,without escaping from the restriction of visual cognition.From the poetics reference angle, Mr Zong baihua starts to study the performance of space in traditional landscape poem and paintings in the 1930’s, anddifferent spatial consciousness between China and the West’s drawings. He first startsto excavate real meaning of"small by the big view" by Shen kuo, thinking that thetraditional Chinese painting has not utilized the perspective, but avoids it, deletes it,and opposes it. With his own rich knowledge, he had surmounted the simplifiedopposition between subjective and objective, following the artistic own intrinsiclogic of development.The explanation to Shen kuo’s theory is a key to classical landscape drawingspace, but there are many mistakes and ambiguities in present studies. Many peoplereplaced simply "view" from "look". Through the analysis to the text, we may beclear about that the intrinsic mechanism of creation is" small by the big view", whichsurmounts natural objects, surpasses real vision, also cancels and evades so called"scientific" perspective.Moreover, through the explanation to Cang yuan rock painting, we mightdiscover the primitive spatial concept and the space manifestation which unfolded inthe primitive art, which revealed that China’s drawing has already spread out with theWest in the manifestation and creation idea in the primitive artistic stage. When weconstruct the system of China arts theory, we have to note this kind of differenceestablished on the cultural tradition.Standing highly to examine the philosophy of "view" on the visual culture, anddiscussing and comparing profoundly with "view" in philosophy field between Eastand West in artistic creation., we may build amore solid foundation for the wordssystem of classical landscape drawing space theory. Under the "optical centerprinciple" tradition, the west has formed a kind of visual practice and productionsystem, but the East takes "view" as one kind of synthesis observation, the attentionand mutual relations among things.Directed by visual culture, the explanation to "small viewed by big" has creditedthe supplementary structure with the elaboration in classic painting papers, whichbuild the words system of classical landscape painting spatial structure together. Chinese classical landscape painting spatial theory includes two aspects: One isspatial consciousness, which establishes on the philosophy and cultural plane; theother is the picture space, which can be described "composition". "Manages theposition" in the ancient drawing papers is to say the picture space, which constructsthe Chinese classical landscape painting space theory from the drawing main body.The ancient landscape painters draw the real scenery in unique assurance way—vision experience, but the way of manifestation is level space established on thevision experience.更多还原