从人物传神到山水意境——“气韵生动”的哲学归因与美学启示  

From the Character to the Landscape Artistic Conception——Philosophical Attribution and Aesthetic Enlightenment of“Vividness of Qi Rhyme”

作　　者：王天乐 Wang Tianle

机构地区：[1]中山大学艺术学院

出　　处：《中国美学研究》2024年第2期82-96,共15页

基　　金：广东省哲学社会科学规划项目“饶宗颐绘画艺术研究”(批准号:GD24LN06)阶段性研究成果

摘　　要：谢赫“气韵生动”的提出有其内在的哲学根源与思想逻辑,对于这一问题的讨论多集中在“气韵”和“生动”的字词阐释或断句分析中。将“气韵”重新放置于魏晋人物品评的语境中,比较“传神”与“气韵”的不同含义,能够指出“气韵”概念背后的文艺思潮与哲学归因。“气韵生动”通过心灵感应实现对万物生命的内在观照,内涵了“境”与“意”的结构关系,“气”与“感物”思想开始从人物品评的范围转入到文论与画论中。而注重空间想象与情感体验的唐代诗学,正是在气韵生动的阐释基础上引发了“意境”美学,继而影响了唐代山水画的审美观念,境生象外的气韵亦成为山水画最高的审美法则之一。气韵生动自此引导了中国古代文艺创作的品评法则与阐释方向。Sheikh’s“vivid Qi rhyme”has its internal philosophical roots and ideological logic.The discussion on this issue mainly focuses on the word interpretation or sentence analysis of“qi rhyme”and“vivid”.By re-placing“Qi Yun”in the context of character evaluation in Wei and Jin Dynasties and comparing the different meanings of“spirit expression”and“Qi Yun”,we can point out the literary trend of thought and philosophical attribution behind the concept of“Qi Yun”.Through telepathy,“Qi charm is vivid”realizes the inner observation of all things,and contains the structural relationship between“environment”and“meaning”.The thoughts of“qi”and“sense object”begin to transfer from the scope of character evaluation to literary theory and painting theory.The poetics of Tang Dynasty,which paid attention to space imagination and emotional experience,gave rise to the aesthetics of“artistic conception”on the basis of the vivid interpretation of Qi Yun,and then influenced the aesthetic concept of Tang Dynasty landscape painting,and the Qi yun outside the environment became one of the highest aesthetic rules of landscape painting.Since then,the vivid charm has guided the appraisal rules and interpretation direction of ancient Chinese literary and artistic creation.

关 键 词：气韵生动 感应 意境 山水 

分 类 号：J212[艺术—美术] I01[文学—文学理论]