“生生而条理”——宗白华形而上学与艺术思想的深层结构及内在关联

Growth and Orderliness: The Deep Structure and Internal Relevance of Zong Bai-hua’s Metaphysics and Art Theory

前期宗白华在柏格森哲学的影响下将自然视为生命冲动与物质材料的斗争,并将此观念引申至艺术,从而在艺术与自然之间建立了同构。后期宗白华走向中西哲学的比较研究,他批判性地接受了柏格森对于西方传统时间观的批判,并通过《周易》的诠释揭示出与空间合一的时间观,从而将自然和艺术的本质视为生命律动(时间)与形式条理(空间)的统一。在这一观念的指导下,宗氏揭示出中国绘画的独特品质,并将书法作为中国艺术之源。

Under the influence of Bergson’s philosophy,Zong Bai-hua regarded nature as the struggle between life impulse and material,and extended this idea to art,thus established an isomorphism between art and nature.In his later period,Zong Bai-hua made a shift upon the comparative study between Chinese and Western philosophy and critically accepted Bergson’s criticism of the western traditional view of time,and further revealed the view of time integrated with space through the interpretation of Zhou Yi,thus regarded the essence of nature and art as the unity of life impulse (time) and formal orderliness (space).Under the guidance of this concept,Zong revealed the unique qualities of Chinese painting and regarded calligraphy as the source of Chinese art.