苏轼论画之“真”的美学阐释

Su Shi's Aesthetic Interpretation of“Zhen”in Painting

“真”是中国古代文艺思想中一个重要的范畴,从先秦儒家的尚“诚”,道家的“法天贵真”,一直到明清时期对自我真性情的大胆追求,求“真”始终是中国古代艺术创造与艺术思想的自觉追求。苏轼继承前人理论,并结合自己的艺术实践,强调“合于天造,厌于人意”的艺术境界,即“真”与“美”的内在统一。“真”是苏轼画论乃至其整个艺术思想的精神内核,既是本体意义上的对绘画艺术的质的规定性,又是绘画实践层面的艺术准则,贯穿于体察外物、生成心象、形式外化的整个创作过程。

“Zhen”is an important category in ancient Chinese literary and artistic thought.From the“Sincere”of Confucianism in the pre-Qin Dynasty,“Follow the Nature and Truth”of Taoism,to the bold pursuit of true feeling in the Ming and Qing Dynasties,“Zhen”has always been a conscious pursuit of ancient Chinese artistic creation and artistic thought.Combining with his own artistic practice,Su Shi inherited the previous theories and emphasized the artistic pursuit of“conforming to nature and aesthetic”,that is,the internal unity of“Zhen”and“beauty”.“Zhen”is the spiritual core of Su Shi's painting theory and even his entire artistic thought.It is not only the qualitative stipulation of painting art in the sense of noumenon,but also the artistic criterion of painting practice.It runs through the whole creative process of observing external objects,generating mental images,and externalizing forms.