苏轼心性思想的转变及其对文人画观念的影响  

The Change of Su Shi's Theory of Mind and Nature and Its Influence on Literati Painting

作　　者：刘耕[1] Liu Geng

机构地区：[1]武汉大学哲学学院

出　　处：《哲学门》2022年第1期292-306,共15页Beida Journal of Philosophy

基　　金：国家社科基金青年项目“‘文人画’的美学精神及其当代价值研究”(项目编号:16CZX066)的阶段性成果

摘　　要：苏轼在文人画的历史中有着举足轻重的地位,他提出了“士人画”的观念,并引领了北宋末期整个绘画思潮的革新。在笔者看来,苏轼的绘画美学深深植根于他的心性思想。对心性的思考贯穿着苏轼的生涯,为他提供了安身立命的重要力量。早年的苏轼是坚定的儒家学者,不过,他当时对关于人性的争论是持怀疑态度的。到了黄州之后,面对人生的巨大波折,他开始思考一个真实恒常、清净无染的心性,这一思考不仅体现在《东坡易传》里关于“性”的思考,也体现在他受道禅哲学影响而产生的“无还”“无思”等观念中。在此心性论基础上,他对人生和绘画都有了更深的见解。他意识到,绘画可以向澄澈无染的心灵敞开一个无限丰富的世界,可以作为心灵的归栖之处。而他对“士人画”观念的建构,则旨在开启一场艺术的转向——从描摹外物转向心灵的表达。Su Shi played an important role in the history of literati painting.He put forward the concept of“scholar painting”,and led the innovation of the whole painting trend in the late Northern Song Dynasty.In my opinion,Su Shi's Aesthetics of painting is deeply rooted in his theory of mind and nature.Thinking about mind and nature runs through Sushi's career and provides him with an important force to settle down his life.Su Shi was a religious Confucian scholar in his early years,but he was skeptical about the debate about human nature at that time.When he arrived in Huangzhou,facing the huge frustration in life,he began to think about a true,constant,pure and untained mind.This thinking is not only reflected in Dong Po Yi Zhuan,but also reflected in the concepts of“Wu Huan”(no return)and“Wu Si”(no thinking)from the influence of Taoism and Zen.On the basis of his theory of mind and nature,Su Shi has a deeper understanding of life and painting.He realized that painting can open a world of infinite richness to a clear and colorless mind,and can be used as the home of soul.His construction of the concept of"scholar painting"aims to open up an artistic turn-from depicting objects to the expression of mind.

关 键 词：苏轼 心性 士人画 文人画 

分 类 号：J212[艺术—美术] B244.99[哲学宗教—中国哲学]