从动静文明论到文化形上学——1930—1940年代宗白华营构中国艺术意境的方法论转移

From the Dynamic and Static Civilizations to Cultural Metaphysics: Zong Baihua 's Methodological Transformation of Constructing Chinese Artistic Conception in the 1930s and 1940s

本文旨在分析宗白华1930—1940年代通过中西绘画比较来营构中国艺术意境的方法论转移。从最初以动静文明论来分判中西文化,到对作为"动静融合"的"气韵生动"的阐发,再到以时空范畴来置换动静范畴,围绕"趋向音乐"与"空间感形"来论说中西画法差异,到最终在中西形上学比较中以"时间率领空间"来概括中国人的宇宙观特质。这些看似重复的工作,实则是宗白华在方法论转移中进行的艰难探索,由此也才为"中国美学"的现代构建工程奠定了重要的理论基石。

This article aims to analyze Zong Baihua＇s methodological transformation of constructing Chinese artistic conception by comparing Chinese and Western paintings during the 1930s and 1940s. In the beginning, Zong Baihua describes that China and the West are respectively static and dynamic ; then he turns to consider China a fusion of both by interpreting it as qiyun shengdong （rhythmic vitality）, after that, he focuses on the difference between Chinese and Western painting techniques by using the ideas of ＂musicality＂ and the ＂perception of space＂ to replace the concepts of dynamic and stasis with that of time and space ; and finally, he conceptualizes Chinese views of universe as ＂time-leading-space＂ in the comparison of Chinese and Western metaphysics. Through these seemingly repetitive but really difficult explorations on the methodological transformation, Zong Baihua has provided the theoretical cornerstone for the modern project of ＂Chinese Aesthetics＂.