中国诗画交融若干焦点问题的美学思考

An Aesthetic Thinking on Some Focal Issues in Blending Chinese Poems with Paintings

中国诗画艺术的交融以及缘此而形成的诗画交融的艺术,是中国美学精神的典型体现,其中若干焦点问题,有待更深一层的探讨。先秦儒家《诗》学阐释的"绘事后素"话题,透露出人格理想与技术理性并存的文明史语境,并涵涉诸子美学所共有的容华朝日之光亮意象,由"绘事后素"、"解衣盘礡"、"犬马最难"构成的先秦"绘事"三说,异质而同构于技道参融的美学思想。魏晋时代顾恺之在诗意画创作中揭示的"目送归鸿难"难题,意味着中国美学难易之辩的历史性跃迁,顾恺之"迁想妙得"与"悟对通神"说的内在统一,意味着中国绘画美学的诗意化自觉具有与透视学自觉相重合的历史赋性,而绘画美学的自觉相应具有"图理"与"图形"两极构成的典型特征。中国诗歌艺术"诗中有画"的演化道路,伴随着山水诗创作和"造形美"观念的发展而与时俱进,自魏晋而至于两宋,以"应物"说为哲学内核,以"窥情风景"为美感基础,以"状溢目前,情在辞外"为审美理想,熔铸出"情景交融"这一中国诗性文学的典型思维模式。中国绘画美学在透视学自觉上的独到造诣,是对"真山之法"的"以大观小"式的审美改造。诗画交融艺术所体现的美学精神,可以提炼为诗性写实主义,此即"迁想"与"实对"的统一,此即"山水以形媚道"的美学内蕴。

The blending of Chinese poetic art with painting art and the resulting art with the blending of poems and paintings are typical demonstrations of Chinese aesthetic spirit. Some of its focal issues need a further discussion. The topic that ＂the painting comes after the plain groundwork＂, elaborated by Confucians of the pre-Qin Dynasty in their studies of The Book of Odes, reveals the context of civilization history where personality ideal coexisted with technical rationality, and involves the same shining images of beauty and morning sun in various schools of aesthetic thinking. The three topics about painting in the pre-Qin Dynasty, that is, ＂the painting comes after the plain groundwork＂, ＂one may paint at will while being barebacked and sitting cross-legged on the ground＂, and ＂dogs and horses are the most difficult to paint＂, are heterogeneous but based on the same aesthetic thinking of integrating skill and Tao. The problem that the artistic imagery of watching swan geese back home is difficult to paint, was abstracted by Gu Kaizhi in his creation of poetic paintings in the Wei Period and the Jin Dynasty. It implied a historic transition in the discussion of easiness and difficulty in Chinese aesthetics. The inner unification of imagination to achieve subtlety and communication to attain spirit indicates the historicity of Chinese aesthetics that poetic self-consciousness coincides with perspective self-consciousness. What＇ s more, poetic self-consciousness should be characterized with both the painting principles and skills. The evolution of Chinese poetic art centering on painting in poetry has kept pace with the times, accompanied by the creation of landscape poems and the development of the concept of shaping. From the Wei Period and the Jin Dynasty to the Song Dynasty,the typical mode of thinking in Chinese poetic literature that feelings are blended with natural scenery was formed by taking the saying of describing objects objectively as the philosophical core, being based aesthetically on an objective and meticulous perspective on observing scenery, and applying the aesthetic ideal of combining vivid scenery with feeling beyond the words. The aesthetic spirit, reflected in the art with the blending of poems and paintings, could be abstracted as poetic realism--an union of imagination and objective observation, which is the aesthetic connotation that landscape expresses Tao with its shape.