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題名 | 宗炳〈畫山水序〉及其「類」概念析論=Analogy, Simulacrum, and Other Related Issues in Zong Bing's “Introduction to Landscape Painting” |
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作者 | 徐聖心; | 書刊名 | 臺大中文學報 |
卷期 | 24 民95.06 |
頁次 | 頁151-181 |
分類號 | 944.4 |
關鍵詞 | 宗炳; 畫山水序; 類; 仿象; Zong Bing; Hua shanshui xu; Simulacrum; Analogy; |
語文 | 中文(Chinese) |
中文摘要 | 宗炳此〈序〉是中國第一篇山水畫論,研討雖多,但至今仍有許多論點尚未釐清。本文為重新探討歷來爭論不休的幾個論題,同時為申明此〈序〉之細密結構,以奠定此〈序〉及中國畫論研究之基礎工作,故詮釋方式主要透過三個層次,一即分析原文理路,二則辨析相關疑義,三則闡釋主要概念與旨趣。 以下扼要說明緒言所提的三個問題,及本論文所獲致的結論: ( 一 ) 全文結構:文分六段,每兩段可概括為一組,分別展示以下三組議題: § 1 「人存在上必有之生命方向:含道或體道」,而其關鍵即在山水之遊賞,即藉由人存在的終極之道,而確立山水存在之價值。 § 2 山水之遊,乃仁智之樂之所以成,若「實遊」勢不可能,乃人生之不得其道與不得其樂,故必代之以「臥遊」。以上兩段可合為一組,論遊覽山水之意義,及山水畫所以成立之故;並由此段帶出兩個問題,以下四段即分就兩疑難而求解。 § 3 以下兩段為一組,解決第一個問題:畫作是「真正的仿象或無效的複製」?分兩階段回答,此段先論擬仿山水作畫時,人具有絕對掌握「形色對象」的能力; § 4 其次論「畫面如何可稱為仿象?」因實地遊覽之法正是形成畫面景象的方式,遊之「覽」與畫之「景」同基於「遠觀以總攝」。 § 5 以下兩段為一組,試答另一個問題:「山水畫本作為真山水之仿象而已,如何負擔『實遊』之功能」?以專論觀畫的閱讀/覽問題來回答。畫成,如何觀畫而可成臥遊?本段先論觀畫之總原理,或觀畫之目的。 § 6 此段續就觀畫之實際情形而論,共三個主意:即(1)觀畫時觀者精神上的預備、(2)想像之作用、及(3)觀畫的終極意義。並回應首段。 宗炳著重山水與人存在之關係,並將兩者都歸向於道,由此確立山水及山水畫之價值。是植根於深層的人文傳統與生命關注,而得其綜合與統會。 ( 二 ) 此〈序〉所謂「道」的歸屬問題:既有多端異說,此固不易論定。若單就宗炳所用的概念及所舉的典型人物而論,還是應謹慎地界定為儒、道的結合,由體證宇宙生機,體會自然妙趣,而得生命之真與樂。 ( 三 ) 宗炳的思維方式:即「類」與「感類」的提出。「類」乃宗炳用以解釋兩個性質相近的事 ( 如遊覽與觀畫之活動 ) 或物 ( 如山水與山水畫 ) ,其所以緊密聯結的基礎。在序中有幾層類比的運作:(1)在人的存在關係上,聖與賢有著含道暎物與澄懷觀道之類比;(2)在山水畫成立之始,即以山水畫作為山水的替身出現,畫則為山水的「仿象」;(3)在論理時,也應用「理」「旨」等辭,額比地討論「形色」對象掌握的可能性;(4)在畫面的形成上,即實遊、臥遊皆基於「遠觀」。至於「感類」,乃吾人通過「仿象」與「類比」所能感通於道的途徑。 |
英文摘要 | This study deals with some of the unresolved issues surrounding Zong Bing's "Introduction to Landscape Painting" ( Hua shanshui xu ), the first treatise on landscape painting in Chinese history. Although the treatise has received tremendous attention from scholars, further investigation is required in order to reveal its meticulous structure and thereby to lay down a foundation for the study of both the treatise itself and the Chinese theo-ries of landscape painting in general. My purpose is threefold: to explore the inner logic of the treatise, to take on some of the unresolved disputes over its meaning, and finally to explicate its thesis and major ideas. My basic contentions are as follows: (l)Thematically, the main thrust of Zong Bing's discussion is neither the illustration of elements required by landscape painting, nor the indiffer-ent, purely technical analysis of the artifice; rather it lies in his penetration into the relationship between human beings and the natural landscape. It is a holistic, unifying consciousness inspired by nature, tradition and the concern for life. (2)What Zong Bing refers to as "analogy" ( lei ) or "simulacrum" ( fangxiang ) is not a technical device or pure imitation, but a mode of practi-cal thinking of the people in Wei-Jin periods. (3)To grasp the meanings of the concepts and quintessential figures discussed by Zong Bing, we need to consider the embedded idea of Tao from a perspective combining both Confucianism and Taoism. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。