【作者】 杨凯；

【导师】 臧新明；

【作者基本信息】 山西大学 ， 艺术学理论， 2020， 硕士

【摘要】 “象”范畴是中国古典美学的元范畴,也是核心范畴。追本溯源,《周易》和《老子》为其提供了哲学基础,也赋予了它初步的却又是十分深刻的美学意味。“象”是一种客观物象与主观精神相结合的产物,具有沟通形下与形上的功能。它内涵丰富,包罗万象,是一种有等差、无形且能尽意的“创构”。据此,本文将之分为“万物之象”、“心中之象”、“象外之象”、“无象之象”四种类型,并分别导向、对应于中国绘画之写实、写意的传统。有关的画论有“应物象形”、“师法造化”、“传神写照”、“图真论”、“舍形悦影”、“妙在似与不似之间”、“澄怀味象”、“空故纳万境”。相关的哲学观点有,魏晋玄学的“得意忘象”,儒家理学的“格物致知”,禅宗的“破除诸相”以及属于文人画范畴的“画有诗意”、“画有真情”、“画有逸气”。可以说,有关“物象”“意象”“意境”的理论,既深受儒、释、道、玄学等哲理和相关画论的影响,也受到绘画创作实践的影响。它们有着层相递进的关系,显示出历史和逻辑的统一,并都指向了那个代表了造化万物的生命本质和宇宙精神的最本源的存在—“道—无象之象”。笔者围绕着这四“象”,列举与之对应的画论或观点展开讨论,以辨明其源流,梳理其脉络。从而揭示出中国古典美学“象”范畴对绘画美学的影响。更多还原

【Abstract】 The category of "image" is not only the meta-category of Chinese classical aesthetics,but also the core category.Tracing back to its origin,Zhouyi and Laozi have provided its philosophical foundation and also endowed it with a preliminary but profound aesthetic meaning."Image" is a product of the combination of objective image and subjective spirit,which has the function of communication under and above form.It is rich in connotation and all-embracing.It is a kind of isometric,intangible and meaningful "construction".Accordingly,this paper divides it into four types: "the image of all things","the image of the heart","the image of the outside" and "the image of no image",which are respectively oriented and corresponding to the realistic and freehand brushwork tradition of Chinese painting.The related painting theories include "the image of the object","the imitation of the law","the vivid portrayal","the picture truth theory","giving up the form and pleasing the shadow","the wonderful between the likeness and the dislikeness","the clear image of the taste","the empty space of the land".The relevant philosophical views include the wei and Jin metaphysics,the Confucian philosophy,the Buddhist philosophy,the Zen philosophy and the category of literati painting "painting poetic","painting with true feelings" and "painting with ease".It can be said that the theories of "object image","image" and "artistic conception" are deeply influenced by philosophies of Confucianism,Buddhism,Taoism,metaphysics and related painting theories,as well as by painting creation practice.They have a progressive relationship,showing the unity of history and logic,and point to the most fundamental existence,"Tao-the image without image",which represents the essence of life and the spirit of the universe.Around these four "images",the author enumerates the corresponding painting theory or point of view to discuss,in order to distinguish its origin and sort out itscontext.Thus reveals the influence of the "image" category of Chinese classical aesthetics on painting aesthetics.更多还原