中国传统艺术主题的跨媒介属性及其哲学基础

The Intermedia Characteristic and Philosophical Foundation of Traditional Chinese Art Themes

跨媒介的中国传统艺术主题具有多样与稳定的特征,这意味着媒介形式差异与审美经验共通性之间存在“异”与“同”的张力。“艺格敷词”的意涵生成史为认识该问题提供了有益借鉴,但也暴露出西方思潮中媒介属性的固化与艺术门类分立的弊端。而“诗画一律”说使不同门类与媒介之间建立起了本质的联系,强调了人类感知经验的整体性与不可分割性。这种认识有其哲学渊源。经过王弼的阐发,魏晋时期的“言意之辨”将最高的审美理想赋予了艺术主题,媒介作为工具与手段有其明晰通路,即由“象”达“意”,从而引发了中国艺术批评史的广泛回应。知性的悬置超越了媒介的壁垒,为当代的媒介神话提供了反思的立场。

Many traditional Chinese art themes with intermedia attribute are characterized by diversity and stability,which means there are differences and similarities between the forms of media and aesthetic experience.The formation history of the three meanings of“ekphrasis”provides a reference for understanding this problem,but also exposes the prejudice of media attributes and art categories in Western thought.The theory of“uniformity of poetry and painting”opens up a non-objectification path in the field of media cognition,establishes essential connections between different art categories and media,and emphasizes the integrity and indivisibility of human perceptual experience.Its philosophical roots lie in the Wei and Jin dynasties.Through Wang Bi’s analysis,“The distinction between words and meaning”endows the art theme with the highest aesthetic ideal.As a tool and means,media has clear path from“image”to“meaning”,which has triggered a wide response in the history of Chinese art criticism.The shelving of intellectuality transcends the barrier of media and provides a reflective stance for the contemporary media myth.