《林泉高致》中的“可游可居”之境

The“Touring and Living”Realm in the Book Lin Quan Gao Zhi(Flawless Taste about Woods and Fountain)

郭熙在《林泉高致》中明确提出了山水具有“可游可居”的功能,“可游可居”实则是人与自然的亲和关系,实现“可游可居”功能的主体是人,人在观照山水或山水画的过程中,满足了自己的审美需求,实现了自己的精神追求,从而产生流连忘返之感。所以“可游可居”的山水功能观实则是一种人文精神的体现。而探索人与自然和谐共生的主题,贯穿了整个中国山水画史,在各个时期均有不同但又有相对一致的体现。本文从中国山水画史绘画实践中的“可游可居”和美学思想中的“可游可居”两个方面入手,来论述《林泉高致》中“可游可居”的美学内涵。

In the book Lin Quan Gao Zhi(Flawless Taste about Woods and Fountain),Kuo Hsi clearly pointed out that landscape performs the function of“touring and living”[1].“Touring and living”is actually the affinity between man and nature.In the process of viewing landscapes or landscape paintings,humans as the major subject satisfy their own aesthetic needs,realize their spiritual pursuits,and feel themselves intoxicated.Therefore,the function of“touring and living”is actually a manifestation of the humanistic spirit.The theme of exploring the harmonious coexistence of man and nature runs through the entire history of Chinese landscape paintings,and has different but relatively consistent manifestations in different periods.This article starts from the two aspects,namely from painting practice in the history of Chinese landscape paintings and the aesthetic thought,to discuss the aesthetic connotation of“touring and living”in Lin Quan Gao Zhi.