古代中国山水画空间问题探究  

An Exploration of Spatial Issues in Ancient Chinese Landscape Painting

作　　者：阎嘉 YAN Jia

机构地区：[1]四川大学文学与新闻学院 [2]南京大学艺术研究院 [3]中华美学学会 [4]中国文艺理论学会 [5]中国中外文艺理论学会 [6]四川省美学学会

出　　处：《当代美术家》2025年第2期17-28,共12页Contemporary Artists

摘　　要：近代以来,在外来理论旅行并对中国固有传统产生冲击的语境下,中国学术界对空间问题及其相关理论的讨论,出现了将外来理论生搬硬套地用于解释传统问题的理论“硬接轨”。在讨论古代中国山水画的空间问题时,人们大多缺乏对外来空间理论的历史意识、语境意识和反思意识。在20世纪初逐渐形成的“维新是尚”的“新传统”思潮的推动下,古代中国山水画中的空间研究,在盲目追逐理论“热点”的思潮中陷入“以西格中”的尴尬境地。本文提出,并非任何外来的空间理论都适合解释中国传统艺术的空间问题。回归古代典籍,重新审视古代中国山水画理论中的优秀遗产,是树立文化自信的当务之急。就“空间”的性质而言,古代中国山水画的空间并非物质性的实存空间,而是一种以独特艺术方法表征自然山水的抽象空间。在创造山水画抽象空间的过程中,古代中国关于“道”的哲学思想成为圣人贤者的核心观念,士大夫们自觉将“体道”和“悟道”作为表征山水空间的最高宗旨,使山水空间成为“道”之符合自然的显现,建构了以“天地人”为核心的宇宙空间观的基本框架。在表征空间的方法上,古代中国山水画从来都不是对自然景物的单纯描绘与再现,更不是世俗的或外来理论所谓的对“如画美景”的表现。以欧洲的“透视”理论或者其变体“散点透视”来解释古代中国的山水画的空间,是近代以来一种流传甚广的误解和曲解,是典型的“以西格中”的理论“硬接轨”。古代圣哲主张以心灵之眼,将天地人一体的宇宙空间收纳于内心中,将山水、虚实、空白、远近、高下、大小等统摄于“一阴一阳之谓道”的哲学构想之中。表征自然山水的最高境界,并非世俗所谓“悦目”和“悦心”,而是圣哲所谓“体道”和“悟道”的“畅神”。Since modern times,in the context where foreign theories have traveled and impacted the indigenous traditions in China,the discussion on spatial issues and related theories in the Chinese academic circle have witnessed a phenomenon of"hard integration"where foreign theories are mechanically applied to explain traditional problems.When discussing the space problem of ancient Chinese landscape painting,most people lack the historical consciousness,context consciousness and reflection consciousness of foreign space theory.Under the impetus of the"new tradition"thought of"pursue the new and the different",which formed gradually since the beginning of the 20th century,the study of the space problem in ancient Chinese landscape painting has fallen into the awkward situation of"relying on foreign theories to solve Chinese problems"in the ideological trend of blindly chasing theoretical"hotspots".This paper points out that not any foreign space theory is suitable to explain the space problem of traditional Chinese art.Returning to ancient books and re-examining the excellent heritage of ancient Chinese landscape painting theory is the urgent task of building cultural self-confidence.As far as the nature of"space"is concerned,the space of ancient Chinese landscape paintings is not a physical existence space,but an abstract space that represents natural landscape in a unique artistic way.In the process of creating the abstract space of landscape painting,the ancient Chinese philosophical thought of"Tao"became the core concept of sages,and scholar-officials consciously took"experience Tao"and"understanding Tao"as the highest purpose of representing landscape space,making landscape space become the manifestation of"Tao"in line with nature,and constructing the basic framework of the cosmic space view with heaven,earth and human being as the core.In the method of representation of space,ancient Chinese landscape painting has never been a simple depiction and reproduction of natural scenery,let alone a secular or foreign theory

关 键 词：古代中国山水画 空间问题 空间的表征 哲学构想 以形媚道 表征方法 透视 虚实 

分 类 号：J212[艺术—美术]