山川作为他者——山水画论与山川崇拜

Mountains and Rivers as “Other”——The Theory of Landscape Painting and the Worship of Mountains and Rivers

中国古代的山水画以及山水画论,在中国艺术史、美术史,乃至文学史上都有着重要的地位与作用。不仅如此,从其中还可以看出中国古代的社会、文化特征。山水画以及山水画论恢复并接续了上古中国山川"圣地"崇拜的传统。山水画及其创作理论将生生不息、连绵不绝的"生命力"看作是山水画的最高追求。在这种追求中,蕴含着山川在"封建"之前的神圣性,揭示了宇宙运行的规则和秩序。只是,山川的神圣性,并不直接体现为远古式的"圣地",而更加人文化。在这种人文化的神圣性中,文人士大夫在"以天下为己任"的自觉之下,或有意或无意地使得山水画发挥了接续"道统"的作用,而这一点又使得山川与近期关于人类学文化自觉的讨论产生了关系。

The origins of Chinese landscape painting theory goes back to the Wei,Jin,Southern and Northern Dynasties it truly evolved during the Tang dynasty ; and matured during the Song and Yuan dynasties. Landscape painting and its creation theory directly reflects the forms and attitudes of Chinese ancient painting arts'gradual stepping into a mature process. From this,one can perceive not only the aesthetic pleasure and aesthetic experience brought by the natural mountains and rivers as an aesthetic object,but also the constructed image of nature and society by ancient China's literati. Therefore,landscape painting and the writings about landscape painting are not only a research subject for art and aesthetic studies,but also a possible source of socio-anthropological information. What they reflect is the Chinese literati's special feelings about and experience of the natural landscape .