中国古代山水画论中的身体话语建构——以《林泉高致》为文本的考察  

Construction of Body Discourse in Ancient Chinese Landscape Painting Theory—An Examination of Lin Quan Gao Zhi As a Text

作　　者：韦拴喜[1] 岳湘凡 WEI Shuan-xi;YUE Xiang-fan(School of Language,Literature and Law,Xi’an University of Architecture and Technology,Xi’an 710055,Shaanxi)

机构地区：[1]西安建筑科技大学文学院,陕西西安710055

出　　处：《宝鸡文理学院学报（社会科学版）》2024年第1期118-128,共11页Journal of Baoji University of Arts and Sciences：Social Science Edition

基　　金：国家社会科学基金项目:身体美学的发展谱系与知识图景研究(项目编号:20XZX021)。

摘　　要：在自古贯之的儒家修身立德和道家去欲保身的身体实践下,无论是郭熙提出的“身即山川”“饱游饫看”的山水画创作与身体力行之道,还是主张“不下堂筵,坐穷泉壑”“可游可居”的绘画观照体验,抑或从山水画欣赏角度对“林泉之心”等身心合一观念的推崇,都可以看到绘画艺术与人的身体或身心有着直接或间接的联系。基于当代“身体崛起”的话语场域,从身体理论视角对《林泉高致》中的身体言说进行系统的阐发论述,不仅可为激活与丰富中国古代画论资源提供新的方法论,还可管窥中国古代文化中的身体观相异于西方的独特意蕴。Under the ancient practice of Confucianism to cultivate one’s body and virtue and Taoism to remove desire and protect one’s body,whether it is Guo Xi’s landscape painting creation and practice of“the body is the mountain and the river”and“fully observe,appreciate,and feel natural landscapes”,or the painting observation experience of“not having to go out of the house,the original meaning of mountains and rivers is already fully understood”and“being beautiful and suitable for living”,or the promotion of the concept of“heart of woods and streams”from the perspective of landscape painting appreciation,it can be seen that painting art has a direct or indirect connection with human body or mind.Based on the contemporary discourse of“the rise of the body”,a systematic exposition and discussion of the body discourse in Lin Quan Gao Zhi from the perspective of body theory can not only provide new methodologies for activating and enriching ancient Chinese painting theory resources,but also provide a glimpse of the unique meaning of the body view in ancient Chinese culture that is different from the West.

关 键 词：《林泉高致》 身体美学 郭熙 山水画 

分 类 号：I01[文学—文学理论]