“去相合”的美学间距——朱利安论中国绘画

“De-coincided”Aesthetic Divergence:François Jullien on Chinese Painting

法国当代哲学家、汉学家朱利安新近提出“去-相合”的概念,称之为艺术得以畅活的动力源泉。他将“去-相合”视为一个概念性的思考工具,以此打破人和事物因逐渐陷入“相符”而导致的贫瘠状态,开启新的可能性。就艺术创作而言,“去-相合”意味着去除同质性因素,拆解使艺术趋于贫瘠的“相合”:一方面在欧洲内部反思以“相符”为核心的艺术传统;另一方面,也是更为重要的一条路径,是打开“间距”去外部追寻“未思”与“未闻”。为此,朱利安一以贯之地秉持“经由中国,反思欧洲”的外部观照路径,来到中国传统绘画之中寻找文化资源,去践行“去-相合”的逻辑。他高度赞赏中国绘画所体现出的“道”,即由两极互动的“之间”而产生持续动力流转与勃勃生气,道家思想对二元统一的追求成为他反思欧洲美学传统的动力。朱利安的研究有别于此前西方文论中从“异域情调”或“东方主义”出发阐释中国问题的方法,而是开拓了一种对话主义的汉学研究路径。

François Jullien coins the term“de-coincidence”(dé-coïncidence),considering it a refreshing source for artistic creation.From this perspective,he reexamines the Western artistic tradition based on“representation”(adéquation),criticizes its lack of fruitfulness,and proposes the use of“divergence”(l'écart).To de-coincide,Jullien turns to traditional Chinese painting as a source of enlightenment,perceived as the“outside”(dehors).He highly extols Dao,namely the continuous bipolar interaction and transformation,and believes that the great harmony in Daoist thought is a driving force to reflect on the European aesthetic tradition.Jullien's work has sought to avoid exoticism and Orientalism,with the ambition of constructing a dialogic approach to the interpretation of Chinese issues.