海德格尔现象学视角下的山水画造境与江南园林造景研究
|
摘要
山水画和江南园林同源于中国独有的艺术表达,两者有许多相似之处。创作者剥去日常生活的繁琐,直达"生存"的本质。由于两者都是中国古代文人在"生存"及"存在"层面的行为,可从西方存在主义现象学进行阐释。因此,文章试图以海德格尔现象学视角为切入点,从二者的创作动因、创作手法以及作品观法之中,找寻共通之处。
Landscape paintings and gardens in the south-Eastern China originate from the unique artistic expression in China. They have many similarities. The creator strips away the complexity of everyday life and goes straight to the essence of "Exisenz". Since both of them are the actions of ancient Chinese literati at the level of "Exisenz" and "Sein", they can be explained from the phenomenology of Western existentialism. Therefore, this paper tries to find common ground from Heidegger's phenomenological point of view, from their creative motivation, creative techniques and works view.
Landscape paintings and gardens in the south-Eastern China originate from the unique artistic expression in China. They have many similarities. The creator strips away the complexity of everyday life and goes straight to the essence of "Exisenz". Since both of them are the actions of ancient Chinese literati at the level of "Exisenz" and "Sein", they can be explained from the phenomenology of Western existentialism. Therefore, this paper tries to find common ground from Heidegger's phenomenological point of view, from their creative motivation, creative techniques and works view.
引文
[1]马丁·海德格尔.存在与时间[M].陈嘉映、王庆节,译.北京:生活·读书·新知三联书店,2006.
[2]董豫赣.山居九式[J].新美术, 2013(8):77-87.
[3]王欣.建筑需要如画的观法[J].新美术, 2013(8):31-53.
[4]童寯.江南园林志[M].北京:中国建筑工业出版社,2014.
[5](清)沈复.浮生六记[M].张佳玮,译.天津:天津人民出版社出版,2015.
(1)常人:Das Man不具主体性的人,见参考文献[1]。
(2)(北宋)郭熙《林泉高致》:“观今山川,地占数百里,可游可居之处十无三四,而必取可居可游之品。”
(3)(明)龚贤《山水》册页:“世间尽有奇险之处,非画家传写老死牖下者不得见矣。然亦不必世间定有是处也。凡画家胸中之所有皆世间之所有。”
(4)(唐)王维《山水论》:“凡画山水,意在笔先。”
(5)(明)计成《园冶·借景》:“然物情所逗,目寄心期,似意在笔先,庶几描写之尽哉。”
(6)(明)计成《园冶·选石》:“小仿云林,大宗子久。”
[2]董豫赣.山居九式[J].新美术, 2013(8):77-87.
[3]王欣.建筑需要如画的观法[J].新美术, 2013(8):31-53.
[4]童寯.江南园林志[M].北京:中国建筑工业出版社,2014.
[5](清)沈复.浮生六记[M].张佳玮,译.天津:天津人民出版社出版,2015.
(1)常人:Das Man不具主体性的人,见参考文献[1]。
(2)(北宋)郭熙《林泉高致》:“观今山川,地占数百里,可游可居之处十无三四,而必取可居可游之品。”
(3)(明)龚贤《山水》册页:“世间尽有奇险之处,非画家传写老死牖下者不得见矣。然亦不必世间定有是处也。凡画家胸中之所有皆世间之所有。”
(4)(唐)王维《山水论》:“凡画山水,意在笔先。”
(5)(明)计成《园冶·借景》:“然物情所逗,目寄心期,似意在笔先,庶几描写之尽哉。”
(6)(明)计成《园冶·选石》:“小仿云林,大宗子久。”