本体之真:中国传统绘画美学对视觉写实的超越

Ontological Truth:Transcendence of Traditional Chinese Painting Aesthetics to Visual Realism

西方古典绘画美学重视觉之实,落实到操作层面,实质是复制视网膜映像,而中国传统绘画美学同样具有强烈的写实意志,即超越视觉景象直指事物本身,不在视点问题上胶柱鼓瑟,也不因视觉中介而守指忘月。早在六朝时期,中国绘画美学就指出了"目有所极,故所见不周"的视觉局限,认为既要表现事物的整体,又要表现事物的细节。从"叩其两端""允执其中"的思想出发,中国绘画美学强调顺应事物本身的召唤,不封闭于单一视点的视觉景象中,善于在视点的变换中、在各个视觉景象之间的侧面关系中显现事物本身的客观普遍性。为了克服视觉的局限性,超越"属我"的视觉景象,中国哲学提出了"以我观物"和"以物观物"的区分,强调绘画呈现的不是一己之见的视觉之实,而是物之为物的本体之真。

Western classical painting aesthetics emphasizes on realism,but its essence is to copy the retinal image,while traditional Chinese painting aesthetics also has a strong will of realism,that is,transcending the visual scene and pointing directly at the object itself,not sticking to the visual scene and the point of view.As early as in the Six Dynasties,Chinese painting aesthetics pointed out the visual limitation of"the eye has its polarity,so the sight is not perfect",insisting that the whole of things should be shown as well as the details of things.Starting from the idea of"touching the two ends"and"taking the middle course",Chinese painting aesthetics emphasizes conforming to the call of things,not being closed to the visual scene of a single point of view,and being good at revealing the objective universality of things in the transformation of points of view and the lateral relationship between various visual scenes.In order to overcome the limitation of vision and transcend the visual scene of"belonging to me",Chinese philosophy has put forward the distinction between"seeing things with me"and"seeing things with things",emphasizing that what painting presents is not the visual reality of one’s own view,but the ontological truth of things as things.