论中国绘画美学的“神”“逸”之变

Change of“Spirit”and“Ease”in Chinese Traditional Painting Aesthetics

中国绘画美学从“传神”到“逸情”的转变,审美渊源大致可分为三类:一是“传神”观下的物象观照;二是“逸情”观下的情感宣泄;三是“自然”观下的主客统一。“传神”观下追求的“格物致知”的写实精神,是再现物理精神的“传神”观念,“神品论”和“传神说”的“神”在绘画领域的实质内涵为主客统一而偏于客体;“逸情”观下“逸笔草草,聊以自娱”看重的是主体情感的释放宣泄,是主客统一而偏于主体;“自然”观下“外师造化、中得心源”,推重的是主客体的水乳交融,是适度中庸的调和。

The transformation of Chinese painting aesthetics from“conveying spirit”to“making at ease”can be roughly divided into three categories:one is the observation of objects under the view of“being vivid”;another is the emotional catharsis under the view of“feeling at ease”;the third is the unity of the subject and the object under the view of“nature”.The realistic spirit of“seeking knowledge through studying things”pursued by the concept of“being vivid”is,in concept,reproducing the physical spirit.The essence of“spirit”in theories of“being superb”and“being vivid”in the field of painting is the unity of subject and object,but is more interested in the object.Under the concept of“feeling at ease”,“easy and simple brushwork just for fun”focuses on the release of the subject’s emotion,here,“ease”is the unity of the subject and the object,but is more interested in the subject;“nature”under the concept of“learning from external nature and feeling it at heart”,emphasizes the harmony of the subject and the object,it is moderate reconciliation.