山水画与身体经验  

Chinese landscape painting and body experience

作　　者：刘连杰[1] 

机构地区：[1]云南师范大学文学院,云南昆明650500

出　　处：《云南师范大学学报（哲学社会科学版）》2016年第2期78-85,共8页Journal of Yunnan Normal University：Humanities and Social Sciences Edition

基　　金：云南省教育厅重点项目"中国传统山水画的身体性研究"(2014Z040);云南省社科普及规划项目"云南传世山水画赏析"阶段性成果

摘　　要：山水画并非单纯的视觉艺术,具有理性主义倾向的西方视觉艺术概念不仅遮蔽了山水画的性质,也无法说明山水画的创作方法和发展方向。从身体美学的角度来看,山水画把以身践道作为哲学基础,强调对山水身历之趣的表达,它不画可"看"之山水,而画可"游"之山水。它也不按视觉方式组织画面,而是按身体游历的时间进程将若干局部之景巧妙地组织在画面之中。尽管它有时并不符合我们的视觉习惯,但却符合我们游历山川的身体经验,因而它也是另一种标准的写实。它不像透视法那样用意识模式规范视觉经验,而是用身体经验整合视觉经验,就绘画效果而言,它不强调形色方面的视觉满足,而试图唤起观者对山水的全方位身体经验。Chinese landscape painting is not merely a kind of visual art because the Western visual art is closely related to rationalism and unable to explain the creative methods and development of Chinese landscape painting as well as its nature.In the perspective of somaesthetics,Chinese landscape painting bases itself on the body practice as its philosophical basis,and emphasizes the expression of the implications of natural landscapes.What it paints is not what the eyes see,but what the body experiences expressed in the clever integration of different pieces into an organic whole.Despite its departure from our visual habit,it follows our body experience in travelling,another kind of realism.In Chinese landscape painting,the visual material is not organized in order of rationality like scenography,but integrated into body experience.In terms of painting effect,Chinese landscape painting does not emphasize visual satisfaction such as figure and color,but tries to arouse the people＇s all-round body experience of the landscape.

关 键 词：山水画 身体经验 身体美学 视觉艺术 

分 类 号：B83-06[哲学宗教—美学]