中國繪畫表現之空間思維---從先秦至宋代山水畫論為據

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Title:	中國繪畫表現之空間思維---從先秦至宋代山水畫論為據 The Discussion on the Space Perspective as seen in Chinese Paintings- On the Basis of Chinese Landscape Painting from Qin to Song Dynasty (221 B.C. to 1279 A.D.)
Authors:	袁光明
Contributors:	哲學系
Keywords:	山水畫意境美學三遠虛實相生空間 Landscape Painting Realm Aesthetics Three-kind of Performances on Distance the Correspondence between Real and Virtual image Space Perspective
Date:	2018
Issue Date:	2018-05-08 16:21:53 (UTC+8)
Abstract:	本文旨在以先秦至宋代之間的中國山水畫論與哲學思維發展趨勢，進而探討在中國山水畫中，中國哲學思維對於繪畫藝術的空間表現手法有至關重要的影響性，以及有關空間思維又與繪畫構圖表現方式之間的關係相互影響。　　中國山水畫長久以來被藝術家、畫家或文人定義為是「意境美學」之一。從中國先秦開始，《周易》、《老子》、《莊子》等的道家知識論便傳達及闡明了「意在言外、言在意中」、「文辭無定義」的「境界美學」。由此可見山水畫是負載著歷代濃厚的思想層次，並以此美學思想層次逐漸開顯及創造新的山水畫的「時代風格」。　　早期的山水畫從魏晉時期敦煌壁畫的「人大於山」開始，逐漸轉化為山的比例逐漸擴大，這都是由於藝術家在空間構圖過程中不斷的體驗與創造，最後在唐及五代到北宋早期創造出宏偉的山水形象。藝術家又經由藝術形象的再現活動，創造出「三遠」的繪畫模式。「三遠」的繪畫模式有兩階段的發展：「高遠」、「深遠」、「平遠」為「唐式三遠」。「迷遠」、「幽遠」、「濶遠」為「宋式三遠」。「三遠」經過五個世紀的藝術家體驗與內在轉化，使山水畫的形象，形成「象外之象」的意象，以宋代山水畫達到顛峰，這恰好和禪學的意境美之「虛實相生合成妙象」的藝術理論的意境美是一致的，因此可以說中國山水畫繪畫表現之空間思維，完全是抽象與意境的融合，更是意與象之體用「不即不離」的精妙關係。　　This dissertation investigates and describes the concept of the relation and mutual influence between the Space Perspective and the medium in Chinese Landscape Paintings. The study examines that the trend of the Space Perspective in Chinese Philosophy from Qin to Song Dynasty has crucial influence on the development of the Chinese Landscape Painting Art. 　　Chinese Landscape Painting is defined as a significant role in Realm Aesthetics by artists, painters, poets, and scholars. Since the early Qin Dynasty, the Taoist Theory of Knowledge, such as “Chouyi”, “Laozi”, “Zhuangzi”, and etc., has convey and illustrate the meaning of “the extensive image of the context and the context about the image itself” as well as the Realm Aesthetics of “Uncertain Definitions of Phrases and Descriptions”. There are historical layers of thoughts embedded in Chinese Landscape Paintings while the new era styles were gradually created and developed on the foundation of in-depth thinking. 　　The ancient Chinese Landscape Paintings has begun with the performance on “The human figures are bigger than the mountains.” in the Dunhuang Murals since Wei and Jin Dynasties. Then, the focus onChinese Landscape Paintings transformed and enlarged the proportion of mountains. Meanwhile, artists constantly convey their experiences in Space Perspective and attempt new skills to express their ideas. Consequently, the magnificent landscape images were first created and developed from Tang Dynasty(618-907), Five Dynasties (907-960) and Ten Kingdoms (902-979), and the early Song Dynasty. Chinese artists and painters among these dynasties created mainly “three-kind of performances on distance” through the art representation. There are two crucial stages in the development on the concept of “the three-kind of performances on distance” namely “Styleinfluenced from Tang Dynasty” and “Style influenced from Song Dynasty”. The main features of the Style influenced from Tang Dynasty are “vertical”, “deep”, and “horizontal” extending visionswhile the other Style influenced from Song Dynasty focused more on the concept of vanishing point, which also contributed “misty”, “ancient”, and “vast” Space Perspective. The “three-kind of performances on distance” were demonstrated and transformed by the artists and painters through five centuries. Subsequently, “the extending image out of the concrete one” were formed as an imaginary in mind. This wonder vision in Chinese Landscape Paintings which was combined with real and virtual images contributed to the highest achievement in Song Dynasty. The development of Space Perspective also meets the Realm Aesthetics in Zen Art Theory. In conclusion, the Space Perspective in the Medium of Chinese Landscape Painting actually combined and applied the concept of real and virtual images that deeply influenced by the historical and philosophy experiences of the artists and painters from Qin to Song dynasties.
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