庄子形、神、德的审美意识对中国书画美学的影响  

Impact of Zhuangzi's Aesthetic Consciousness of Form,Divinity,and Morality upon Chinese Calligraphy and Painting Aesthetics

作　　者：郭大兴[1] GUO Da - xing(School of Fine Arts, Nanfing Institute of Arts, Nanfing, Jiangsu 210013)

机构地区：[1]南京艺术学院美术学院,江苏南京210013

出　　处：《艺术百家》2017年第4期146-149,共4页Hundred Schools In Arts

摘　　要：文章通过对庄子哲学美学思想的归纳、梳理与阐释,结合秦汉之后中国古代书画美学的重要审美思想,系统地进行了几个重大范畴的论述。通过从庄子美学思想的涵盖到对古代书画美学影响的大体分类,可清晰看出庄子在受到老子哲学审美标准、审美境界、审美心胸、审美创造几个方面影响的同时,庄子通过对道的社会实践,世间万物的形神、品德、美丑、生死、好坏、有无、虚实等美学范畴,认为一切事物都存在"道通为一"的美。庄子美学开启了中国古代书画形神观、品德论。庄子对万物形体及内在精神、品德的系统审美阐述,包含了庄子普遍的哲学思想和审美理念。庄子认为,完美的形体只有赋予了内在生命,注入了审美品德,才能够具有审美精神和依天合道同德的美。内在品德和精神是形体审美的灵魂旨趣。只有对形体的精神和品德加以审美化认识,形体才能至道至理,显得更加完美。Through social practice of Tao, Zhuangzi categorized everything into form and divinity, moral character, beauty and ugliness, living and death, nice and bad, have and not, empty and full. Zhuangzi inaugurated the form and divinity, and morality discourse in ancient Chinese calligraphy and painting. Zhuangzi stated that only through in- ner life, a perfect form could be filled with aesthetic moral character. Inner quality and spirit is the soul and interest of form. We should aesthetically recognize the spirit and quality of form, so as to perfect it. Thus, we could say that Zhuangzi＇ s pursuit of divinity is extremely profound.

关 键 词：审美意识 庄子美学 艺术精神 审美创造 书画作品 

分 类 号：J20[艺术—美术]