论中国艺术批评中“师法”对象之辩——兼论“法”的背离与回归

On the Object of Shi Fa in Chinese Art Criticism:About the Deviation from and Return to Fa

中国古代艺术批评思想中有“师心”“师古”“师造化”等艺术创造方法,为历代艺术品评过程中提供艺术创造的参考对象。不同时代、不同流派之间,艺术创造的“师法”对象也不尽相同,反映出当下艺术和艺术家的价值审美取向,成为同时期艺术创作的标杆和参照。通过梳理历代对“师法”的艺术批评文献,结合特定历史时期时代背景分析其“师法”对象的变化,分析其在“法”的背离与回归中所产生的“逸”的艺术范畴,研究“师法”美学内涵中主客体间的“双向”式互动,总结中国历代艺术批评思想中关于“师法”的演进和对“法”的背离与回归。

In ancient Chinese art criticism,there were such artistic creation methods as Shi Xin(follow heart),Shi Gu(follow the ancient) and Shi Zaohua(follow creation),which provide reference for artistic creation in the process of art evaluation in past dynasties.In different times and schools,the objects of Shi Fa(follow the law) in artistic creation were different,which reflected the value and aesthetic orientation of art and artists at that time and became the benchmark and reference for artistic creation in the same period.By combing the art criticism literature on Shi Fa through ancient dynasties,this paper analyzes the changes of the object of Shi Fa with the background of specific historical periods,analyzes the artistic category of Yi(freedom) produced in the deviation from and return to Fa(law),studies the "two-way" interaction between the subject and object in the aesthetic connotation of Shi Fa,and summarizes the evolution of Shi Fa in the art criticism thought in ancient dynasties in China and the deviation from and return to Fa.