回应现实——从“外师造化,中得心源”说起

Responding to the Present ——Starting with External Learning from Naturalism and Internal Comprehension"

本文针对“外师造化,中得心源”这个中国经典画论在今天艺术理论中的误读现象,对中国传统水墨的艺术精神与西方艺术思想的根本差异谈了自己的看法。“外师造化,中得心源”的艺术思想源自于中国传统哲学中的“自然观”。正是在这一思想的支配下中国人通过毛笔和宣纸在笔墨的迹象中体悟到“自然”,实现其艺术的自觉。这一过程,充分地体现了中国人的审美意识在于思辨性的体悟,在美学的要求上不同于西方的审“美”。面对今天的发展,中国艺术重要的并不是形式,而是内在的适性的思想方法和以中园艺术思想为基础的艺术实践。

In the light of the misunderstanding of External Learning from Naturalism and Internal Comprehension', the Chinese classic one in today' s artistic theories, this paper points out the difference between the artistic conception of the Chinese traditional painting and the Western artistic thought, that is: 'External Learning from Naturalism and Internal Comprehension' originated from the Chinese traditional philosophy of naturalism. It is at the mercy of this philosophy, the Chinese people understood naturalism and fulfilled themselves in art by painting on a piece of Xuan paper, reflecting that the Chinese people's aesthetic view lies in their ideology which is different from the Western aesthetics. In view of recent discussion on whether the Chinese culture or the Western culture should be regarded as the main stream and the debate about whether the writing brush and ink are the last baseline', this paper concludes that what matters to the Chinese art confronted with its today' s development is not the form but the intrinsic and applicable method of thinking and the artistic practice based on the Chinese ideology, for the history of art originates from the spiritual demand of each nation to each era.