摘要
刘宋宗炳在《画山水序》中对绘画进行了解释,提出世人可以凭借山水画实现“畅神”,进入精神解脱的境界。目前学界关于“畅神”的价值指向仍有一定分歧,结合宗炳在当时面临的问题以及回答问题时的思路可以判断,他所欲表达的既是佛学的弘扬,也是庄学的延续。同时,“畅神”说的提出使得画作与绘画者之间可以产生感应,这就使得绘画的功能在成教化基础上开始兼具穷神变,削弱了原初蕴含的政治因素,标志着人们开始能够通过绘画活动主动创造出一种经验与超验相统一的独特精神世界。
Liu Song Zongbing explained the painting in the“landscape painting preface”,and put forward that the world can rely on landscape painting to achieve“free spirit”and enter the realm of spiritual liberation.At present,there are still some differences in the value orientation of“Changshen”in academic circles.Combined with Zong Bing’s problems at that time and the thinking of answering them,it can be concluded that what he wants to express is not only the promotion of Buddhism,but also the continuation of Zhuangzi.At the same time,the proposal of the“free spirit”theory makes it possible for the painting and painters to have an induction,which makes the function of painting begin to combine poverty and divinity on the basis of adult education,weakens the political factors originally contained,and marks that people begin to create a unique spiritual world with the unity of experience and transcendence through painting activities.
作者
王宏伟
汪珂欣
Wang Hongwei;Wang Kexin
基金
国家社科基金重大项目“儒佛道三教关系视域下中国特色佛教文化的传承与发展研究”(18ZDA233)
南京大学研究生跨学科科研创新基金项目“晋唐艺术观念与儒佛道文化关系研究”阶段性研究成果(2018ZDW01)。
