道家视域下的绘画色彩观研究

A Study of Painting Color View from Taoist Perspective

鉴于中国古典美学范畴“文质”与传统文化背景下的色彩概念之间的关系,以老子与庄子为代表的道家在视觉表现层面形成了一条看似“重质反文”的色彩认知理路,这一度成为影响后世绘画创作及色彩实践的一项重要指导原则,最终形成了根植于道家“自然”哲学理念的绘画色彩审美理论。道家视域下形成的绘画色彩观,具有鲜明的史观嬗变痕迹,具体表现为对传统儒家“文质彬彬”观念的批判;同时,道家视域下的绘画色彩观立足于中国传统绘画色彩范围分别对“质”与“文”概念做了进一步阐释,以及对二者之间的关系进行重构,这深刻地影响了后世绘画类型的区分与绘画技法的演变。

In view of the relationship between“Wen-Zhi”(essence and form)concept which is the category of Chinese classical aesthetics and the color concept under the background of traditional culture,Taoist,represented by Lao Zi and Zhuang Zi,has formed a color cognitive theory at the level of visual performance about paying attention to essence and opposing form,which has once become an important guiding principle affecting the painting and its coloring。Finally,it has formed a color aesthetic theory based on the Taoist of“nature”.The formation of painting color concept from the perspective of Taoist has distinct traces of historical evolution,which is embodied in the criticism of the traditional Confucian’s“elegant and refined in manner”concept.Based on the color range of traditional Chinese painting,the concepts of“essence”and“form”are further explained,and the relationship between them is reconstructed,which profoundly affects the distinction of the later painting types and the transformation of painting techniques.