水墨与彩色——中国古代山水画与西方传统风景画中的色彩意识

Chinese Ink Painting and Western Color Painting: Color Consciousness of Ancient Chinese Mountains- and- Waters Painting and Traditional Western Landscape Painting

当把山水画与风景画放在各自发生、发展的文化背景中,我们才能认清其艺术本质及美学特征的差异。中国古代山水画在美学意识上不是追求对自然事物的客观真实的描绘,而是在于"传道",借山水之形抒写生活世界的本体,它超越现象界诸物,在似与不似之间传达出高妙的人与本体合一的自由自在的人文精神,表现出本体论的特征。西方传统风景画的美学意识则受其科学性文化背景的影响,表现为对客观事物的逼真刻画,从而使其表现出认识论的特征。在绘画色彩方面。山水画采取了远离现实自然景色的水墨,以利于表达超越诸物的本体之境;而风景画则出于其科学文化的要求,追求客观真实性,采用了与自然景色一致的色彩。

Only when mountains -and -waters painting and landscape painting are put into their respective cultural background of generation and development could their disparity in artistic essence and aesthetic features be cleared up. As regards to aesthetic consciousness, ancient Chinese mountains -and -waters painting does not depict nature or figures objectively, yet it is actually delivering something metaphysical. It describes the essence of living world, and expresses a profound integration between nature and human and a freedom humanistic spirit in light of mountains and waters. However, impacted by a scientific culture, traditional Western landscape painting always depicts the world true to life. As regards to color, mountains -and -waters paintings adopt water ink so as to express something transcendental. Landscape painting adopts a color similar to natural landscape so as to pursue its objective authenticity.