花与状况的美学——以夜樱的氛围为中心

The Aesthetics of Flowers and Conditions: Focusing on the Atmosphere of Nigh Sakura

在'春之花'绘画展上可以看出两种不同的关于花的描绘方式,一种是以中川一政的《玫瑰》为代表的插在花瓶里的大型的花,另一种则是以樱花为题材的绢本或纸本彩色的日本画。前者以静物画为代表,体现了西欧人类中心主义对于花的描绘方式。后者则并不存在如静物画一般的、对物体实在性的细致描写,而是可以看出一种在无常与变化中尊重一时的充实的审美意识,是与'看花'相对应的'感花'。后者这种对状况进行限定并包含了气象因素的氛围审美意识广泛地根植于东亚的传统与感性之中,是超越了单纯的视觉体验的全身心性的审美体验。

It is obvious on the Painting Exhibition of Spring Flowers that there are two different ways in describing flowers. One way is painting a large flower in a vase represented by the Rose of Nakagawa Issei,and the other way is taking the sakura as the theme of silk scroll,or using colored,paper-painted Japanese paintings. The former is represented by still life paintings,which reflects the the flower descriptions of the western European anthropocentrism. The latter does not give detailed descriptions about object reality as the still life paintings. Instead,the latter focuses on substantially aesthetic consciousness,and respects the temporary enrichment in impermanence and change,which is more like 'feeling flowers'rather than 'looking at flowers'. Limiting conditions and including meteorological factors,this aesthetic consciousness of atmosphere has been widely rooted in the tradition and sensibility of East Asia,and it is an overall aesthetic experience of both body and mind instead of simply visual experience.