从主客一体关系视域看邓以蛰中国绘画美学理论体系之建构  

On the Construction of Deng Yizhe’s Theoretical System of Chinese Painting Aesthetics from the Perspective of Subject-Object Integration

作　　者：张都爱[1] ZHANG Du’ai

机构地区：[1]中国政法大学哲学系,北京102249

出　　处：《济南大学学报（社会科学版）》2021年第4期36-46,157,158,共13页Journal of University of Jinan:Social Science Edition

摘　　要：邓以蛰是中国现代美学和艺术学的重要奠基者,他的理论贡献最重要的一面是对中国绘画美学的研究,他立足于主客一体原则,通过对中国画的客体构成、主体构成、主客同构之意境等内容来建构中国绘画美学的理论体系。比较完整地勾勒邓以蛰的中国绘画美学思想体系结构以及贯穿其中的基本原理和根本精神,归根结底,是要表明主客同构的一体关系是被呈现于创作之中、鉴赏之中与历史发展之中。邓以蛰体系性的中国绘画美学思想之建构的启示意义说明,“形散而神不散”的中国绘画理论形态的体系问题正是一个现代问题。Deng Yizhe is an important founder of modern Chinese aesthetics and art,and his theoretical contribution lies in his research on Chinese painting aesthetics.His research focuses on subject-object integration and constructs the theoretical system of Chinese painting aesthetics through exploring the composition of object,the composition of subject and the isomorphic composition of both object and subject in Chinese paintings.In the final analysis,a relatively complete outline of Deng Yizhe's theoretical system of Chinese painting aesthetics,as well as its basic principles and fundamental spirit,is to show that the integrated relationship between subject and object with their isomorphic composition is embodied in the process of creation,appreciation and historical development.The significance of the construction of Deng Yizhe's systematic aesthetic thought of Chinese painting shows that the"systemic"issue in the theoretical form of Chinese painting,which is"loose in form but unified in spirit",is a modern issue.

关 键 词：邓以蛰 主客一体 主客同构 气韵生动 

分 类 号：J201[艺术—美术]