论石涛的“迹化”观  

On SHI Tao’s Concept of“Jihua”

作　　者：黄贤春 HUANG Xianchun(School of Communication,Guizhou Normal University,Guiyang,Guizhou 550025,China)

机构地区：[1]贵州师范大学传媒学院,贵州贵阳550025

出　　处：《贵州大学学报(艺术版)》2025年第2期72-81,共10页Journal of Guizhou University Art Edition

摘　　要：“迹化”是石涛美学的重要范畴,指艺术所需要素间因相互作用而趋于无间的、有条件的、漫长的融合修炼过程。达迹化之融合无间状态,方有艺术“寄兴”“假道”之自由。迹化基于“一画”,一方面能在“真受”“神遇”的基础上生发形式意味,使艺术想象具有自由的创造性;另一方面则通过“尊受”中“受”与“识”的辩证发展,将山川“相”背后的“乾坤之理”融汇进笔墨之法中,使受笔墨逻辑制约的艺术想象具有反映现实真实的真理性。“资任”则是保障迹化得以最终实现的原则、方法和过程。“Jihua”is an important category in SHI Tao’s aesthetics,referring to the conditional and prolonged process of integration and cultivation among the elements required for art,which tends to become seamless through interaction.Only by achieving the state of seamless integration in“Jihua”can art attain the freedom of“Jixing”(“Expressing oneself through ink and stroke”)and“Jiadao”(“Seeking inspirations from mountains and rivers”).Jihua is based on“Yihua”(“The meta stroke”),which,on one hand,can generate formal significance on the foundation of“Zhenshou”(“Pure interaction”)and“Shenyu”(“Spiritual convergence”),allowing artistic imagination to have a free creativity;on the other hand,through the dialectical development of“Shou”(“Perception”)and“Shi”(“Recognition”)in“Zunshou”,it integrates“Qiankun-zhi-li”(“Universal law”)behind“Xiang”(“Representations”)of mountains and rivers with the techniques of brush and ink,which renders the artistic imagination constrained by the mechanism of brushwork to reflect the truth of reality.And“Ziren”(“Qualifications and responsibilities”)is the principle,method and process that ensures the ultimate realization of Jihua.

关 键 词：迹化 一画 资任 寄兴 假道 

分 类 号：J212[艺术—美术]