山水何以可游?——论山水画中的形而下之道及其超越性  

Why Landscape Can Be Roamed?Exploring the Physical Road and Its Transcendence in Landscape Painting

作　　者：沈亚丹[1] Shen Yadan(School of Arts,Southeast University)

机构地区：[1]东南大学艺术学院,江苏南京市210000

出　　处：《文艺理论研究》2024年第2期10-20,共11页Theoretical Studies in Literature and Art

摘　　要：山水画之所以“可居”“可游”,因其有道,山水之道既体现为形而上的哲思,也呈现为画面上的逶迤细路。它并非某种凸显于画面有形体、有细节的视觉对象,却常呈现为被山水树石等物装裱的虚空。五代北宋时期的全景山水和我们的身体图式相契合,为观者“步入”山水画之中开了方便之门,也奠定了中国山水画的空间知觉方式。画面路径多开始于画幅下端并向上方横斜蜿蜒,在观者的知觉中被解读为向画面深处延展,散点透视则营造了一个动态知觉过程,使得“游观”成为可能。山水画中的路形态多样,但其在视觉上多显现为深远山水意境中的“细路”。“三远”图式即意味着画面上的道路,需要被呈现为“窄”和“细”的形态,否则便无法凸显咫尺万里之势,与“细路”相对应的是“独往”,呼应着中国传统哲学与诗学中的“独往”,从而获得与天地精神相往来的超越。Chinese landscape painting invites“roaming”and“residing”within its realms,guided by the Tao,which manifests both in the metaphysical realm and as tangible pathways in the artwork.This Tao is not merely a detailed object within the landscape but often emerges as the emptiness framed by mountains,trees,and stones.The panoramic landscape of the Five dynasties and Northern Song dynasty,resonating with our body schema,facilitates an immersive experience,thus founding the spatial perception inherent in Chinese landscape art.Pathways depicted typically ascend from the frame's lower edge,winding upward,perceived by viewers as extending deeply into the scene,fostering a dynamic engagement.These paths,though varied,consistently appear as“narrow paths”within vast landscapes,embodying the concept of“three distances”and emphasizing the portrayal of immense distances on a finite frame.Coupled with the motif of“going alone,”these elements resonate with traditional Chinese philosophical and poetic themes,propelling the viewer towards a transcendent interaction with the cosmos.

关 键 词：山水之道 空间知觉 身体图式 超越 独往 

分 类 号：J212[艺术—美术]