自然道说宇宙悲情——德国观念论视野下的风景画美学

Talking about Universe Pathos from the Perspective of Nature:Landscape Painting Aesthetics in the Threshold of German Ideational Theory

风景不是身外之物,而是宇宙自然通过人的感性生命塑造出的精神外观。以具象的自然事物为符号,去建构象征体系,表现宇宙、人生的奥秘,以及无限的人类精神,这就是德国早期浪漫主义美学之中的"自然象征主义"。这个美学范畴意味着,绝对的分裂因此而产生了忧郁的渴念,分裂与渴念构成了自由的必要条件。在分裂和渴念之中执着于解读自然隐秘,就是早期德国浪漫主义诗人、哲人、艺人心目中存留的一道幽美的神圣剪影。通过象征与隐喻,早期德国浪漫主义艺术把风景建构成一种关于自然的新神话,一种写在风景之中的神话。风景艺术家弗里德里希,在超验神性的笼罩下以一颗微妙的诗心去触摸风景,艺术地把自然解读为古老的启示语言,解读为传递灵知的象征媒介。德国浪漫主义与中国古代艺术家之间有一种遥契合,那就是渴望臻于天地不言、花开水流之境,追寻终极实在,超越审美而趋于属灵的真实实在。

Landscape is not an external thing that is not physically connected with oneself. Landscape is a spiritual ap- pearance made by the universe through human~ sensible life. Taking figurative natural things as the sign, to establish a symbol system, express the secret of the universe and life, and even the infinite human spirit is the natural symbol- ism of early romanticism aesthetics in Germany. Through symbol and metaphor, early German romantic art constructed landscape to be a new myth about nature, that is a myth writing in the landscape. With a delicate poetg feeling, pre- occupied by transcendental divinity, landscape artist Friederich interprets the nature to be an ancient inspirational lan- guage, and a symbolic media for transferring gnosis. There is a coincidence between German romanticism artists and ancient Chinese artists, that is they have been all yearning to transcend aesthetics and ultimately to be a reality of di- vinity.