笔墨何以传“神”?——论六朝画论中以“神”为中心的艺术表达之内涵

How Does Ink Convey the Spirit?——On the Connotation of Artistic Expression Centering on Spirit in the Painting Theory of the Six Dynasties

“神”这一批评范畴的建立在六朝时期,并在后世发展成中国画论的核心概念,其哲学前提是“道”的展开。六朝画论中“神”这一范畴的艺术表达往往被解释为画家对外物的再现,此技法范畴的建立源自于一种特殊的内在意蕴与外在表现关系的艺术哲学。在六朝时期的画论中,“道”以笔墨为中介,经过通神成真的幻术表达,展示出其神妙的特质。传“神”的技艺是建立在以静态的笔墨符号之形表现“道”之无形,以不像表现“道”之大象上的。画家以心理运作而产生的神思,也是被“道”所中介化的结果。由此,笔墨符号因神思获得了“传神写真”和“气韵生动”的内在生命性,并转为蕴含着“道”的理想现实。

The Spirit as a critical category was established in the Six Dynasties and developed into the core concept of Chinese painting theory in later times.Its philosophical premise is the development of the Tao.The artistic expression of the Spirit in the painting theory of the Six Dynasties is often interpreted as the artist’s reconstruction of external objects.The establishment of this technique originates from a special artistic philosophy about the relationship between internal implication and external expression.In the painting theory of the Six Dynasties,the Tao uses ink as the medium,and demonstrates its wonderful characteristics through the magical process of making the Spirit become reality.The technique of conveying the Spirit is based on reflecting the invisibility of the Tao through static ink symbols,and reflecting the supreme image of the Tao through unlikeness.The thinking produced by the painter’s psychological processing is also the result of him being mediated by the Tao.As a result,ink symbols acquire the intrinsic vitality of“conveying the Spirit through the portrayal of reality”and“charm of vividness”because of the painter’s thinking,and thus turn into ideal reality containing the Tao.