王学仲黾学体系的构建——基于绘画理论的哲学思考

Construction of Wang Xuezhong’s Mianxue--Philosophical Thinking Based on Painting Theory

文章从王学仲先生“现代文人画”和“五象”观切入,对其绘画理论进行哲学探析。首先,“现代新文人画”是“文人画”面对西学、西方艺术挑战而积极探索的路径;其次,文人画发展到现代,其“现代性”的内涵与“现代新儒学”的哲学思想理念相暗合,而且整个黾学体系的构建是以儒学思想为核心。在王学仲先生的“五象”说中(即表象、意象、气象、空象、色象),是以“意象”为中心,以“气象”为旨归,其中“气象”指的是儒家审美基调的雄浑、刚健气质,最后通过“表象”“空象”“色象”,融合老庄、会通佛禅,最终形成儒佛道三家思想在黾学体系的统一。

This paper tries to make a philosophical analysis of Wang Xuezhong’s painting theory from the perspectives of“Modern New Literati Painting”and“Five Images”.First of all,“Modern New Literati Painting”is a path actively explored by the theory of“Literati Painting”in the face of challenges of western learning and western art.Secondly,“Modernity”of“Literati Painting”is implied in the philosophy of“Modern New Confucianism”,and the whole construction of the system of“Mianxue”is based on Confucianism.In his theory of Five Images,i.e.Representation,Image,Qi-Image,Empty Image and Color Image,the Image is the center of the theory and the Qi-Image is the theme of the theory,which refers to the Confucian aesthetics tone of strong temperament.Finally,the unity of Confucianism,Buddhism and Taoism in the system of Mianxue was established through Representation,Empty Image,Color Image as well as the integration of Laozhuang and Buddhist Zen.