风景的“未思”——朱利安风景画与山水画对比研究  

“L'impensé”of Landscape:A Comparative Study of Jullien's European and Chinese Landscape Painting

作　　者：张桂丹 Zhang Guidan

机构地区：[1]华东师范大学国际汉语文化学院

出　　处：《上海文化》2025年第2期108-116,共9页Shanghai Culture

摘　　要：朱利安通过研究中国山水,揭示了欧洲风景思想存在的三大固有观念。欧洲风景思想倾向于视风景为从自然大地中切割出的局部,将其置于部分与整体的对立中,并强调视觉作为理解风景的唯一途径,将风景简化为仅是视觉的呈现。而这本质上是因为欧洲风景思想通常采用主客二分的认知原则,将观察者作为主体与风景作为客体划分开来,互不交融。朱利安经由中国山水,成功打破欧洲风景思想中部分与整体的矛盾观念,动摇视觉的垄断地位,解构主体自足性的概念,并由此上溯到欧洲风景思想的“未思”。朱利安的研究方法为我们提供了一种逆向思考的可能性,使我们摆脱传统审美经验和固有观念的桎梏,从而激发出山水中潜藏的活力和全新的视角。Jullien reveals three inherent concepts within European landscape-thought through his study of Chinese landscape.The Europeans typically view landscape as an isolated segment of the natural world,placing it in opposition to the part and the whole,and emphasizing vision as the only way to understand the landscape,which reduces thus the landscape to a mere visual presentation.This view stems from the European tendency to adopt a subject-object dichotomy,which separates the observer(as subject)from the landscape(as object)without any mutual engagement.Through his exploration of Chinese landscape,Jullien challenges the part-whole division,disrupts the dominance of vision,and undoes the self-sufficiency of the subject.In doing so,he exposes the unthought-of(“l'impensé”)dimension of European landscape-thought.His approach offers us a path to reverse thinking,encouraging us to break free from traditional aesthetic constraints and preconceived ideas,and thereby to uncover new perspectives and latent vitality within landscapes.

关 键 词：朱利安 欧洲风景思想 中国山水画 未思 

分 类 号：J205[艺术—美术]