本文關(guān)鍵詞： 石濤 石濤《畫語錄》 氣論 一畫 氣 天人合一 陰陽　出處：《中國美術(shù)學(xué)院》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：石濤《畫語錄》是中國繪畫史上的一部奇書，其因體例特殊、措詞玄奧，歷來眾說紛紜，“一畫”概念更是引無數(shù)學(xué)人競(jìng)相探索�！懂嬚Z錄》為何成書于明末清初？為何采用這樣特殊的體例？“一畫”及其它概念范疇的內(nèi)涵和關(guān)系又是什么？本文以石濤《畫語錄》為研究對(duì)象，運(yùn)用文本分析和關(guān)鍵詞研究的方法，并結(jié)合中國古代思想史，試圖進(jìn)入《畫語錄》原文語境以解析文本的深層內(nèi)涵。 就結(jié)構(gòu)而言，《畫語錄》與張載所著之《正蒙》在整體結(jié)構(gòu)上有驚人的相似性，體現(xiàn)出“天人合一”的邏輯理路。從諸概念范疇而言，“一畫”在《畫語錄》里是最高的哲學(xué)范疇，與中國古代氣論哲學(xué)中“氣”的概念范疇具有同質(zhì)性，石濤所構(gòu)筑的“一畫”體系與以“氣”為本原的氣論體系具有同構(gòu)性；“尊受”概念是《畫語錄》的工夫理論，理解“識(shí)”與“受”這對(duì)概念范疇的關(guān)鍵在于須掌握石濤對(duì)“受”的定義具有雙向性；“蒙養(yǎng)”和“生活”是“尊受”工夫的具化，談的是關(guān)于繪畫的修身準(zhǔn)則；對(duì)“資任”概念的正確把握關(guān)鍵在于須從哲學(xué)的高度認(rèn)識(shí)“任”，“任”在《畫語錄》里實(shí)是一個(gè)哲學(xué)范疇，而非字義范疇，不同語境下的“任”之意義實(shí)是“任”之哲學(xué)范疇在由不同的主體和對(duì)象所構(gòu)成的“任”的關(guān)系層次中的具體變化。 《畫語錄》所貫徹的核心理念有兩點(diǎn)：一是天人合一理念，《畫語錄》中無論是從十八章的整體布局，還是圍繞“一畫”所設(shè)立的一系列概念范疇，甚至是一些篇章的行文結(jié)構(gòu)，都體現(xiàn)出天人合一的內(nèi)在性和循環(huán)性；二是陰陽變化理念，石濤在體認(rèn)天地變化之大法時(shí)，或不自覺或有意識(shí)將一切事物以陰陽對(duì)待，最明顯的特征是《畫語錄》出現(xiàn)的命題往往是成對(duì)的，體現(xiàn)出石濤對(duì)陰陽兩體的體用。 從《畫語錄》中所涉及到的問題層次，《畫語錄》可剝離出三條脈絡(luò)：首先是觀念的脈絡(luò)，其次是體用的脈落，再次是創(chuàng)作的脈落。這三條脈落串聯(lián)起各章節(jié)、各概念范疇內(nèi)在的聯(lián)系，并始終涵攝天地人三才，給出了天、地、人各自的范疇。 《畫語錄》玄奧難懂的一個(gè)原因，是因石濤由哲學(xué)向畫學(xué)貫穿的過程中，對(duì)一些問題的探討在范疇層次上存在落差，或?qū)哟闻c層次之間的過渡沒有交待清楚，或各章中論述主體不相一致、連貫，令吾人讀起來倍感跳躍，難以跟上石濤的“一貫”思路。 《畫語錄》對(duì)清代畫學(xué)產(chǎn)生了潛移默化的影響，客觀上提高了清代畫論的思想深度，，促進(jìn)了文人畫思想的成熟。通過清代畫人對(duì)《畫語錄》思想的選擇性吸收，不僅可以看到《畫語錄》思想與代表官方意識(shí)形態(tài)的正統(tǒng)畫學(xué)在思想觀念上的本質(zhì)分歧，也反映出清代以后世人在理解《畫語錄》上出現(xiàn)了斷層。
[Abstract]:Shi Tao's "Quotations of painting" is a wonderful book in the history of Chinese painting. Because of its special style and mysterious wording, there have always been different opinions. The concept of "one painting" has attracted countless scholars to explore it. Why did the book come into being in the late Ming and early Qing dynasties? Why is it so special? What are the connotations and relationships of "one painting" and other conceptual categories? This paper takes Shi Tao's "drawing quotation" as the research object, uses the method of text analysis and keyword research, and combines with the history of ancient Chinese thoughts, tries to enter the original context of "painting quotation" in order to analyze the deep connotation of the text. In terms of structure, there is a striking similarity in the overall structure between the Picture Quotations and Zhang Zai's "Zhengmeng". It embodies the logical principle of "the unity of nature and man". In terms of various conceptual categories, "one painting" is the highest philosophical category in the quotation of painting, and it is homogeneous with the concept category of "Qi" in ancient Chinese philosophy of Qi theory. The system of "one painting" constructed by Shi Tao has the same structure with the system of Qi theory based on "Qi", and the concept of "respecting and receiving" is the time theory of "drawing quotation". The key to understand the conceptual category of "knowledge" and "receive" lies in the fact that Shi Tao's definition of "receiving" is bidirectional, that "covering and supporting" and "life" are the characteristics of "respecting and receiving", and talking about the principles of self-cultivation in painting; The key to the correct understanding of the concept of "appointees" lies in the understanding of "Ren" from the perspective of philosophy. "Ren" is in fact a philosophical category, not a category of words and meanings, in the Quotations of painting. The meaning of "Ren" in different contexts is the concrete change of philosophical category of "Ren" in the relationship level of "Ren" composed of different subjects and objects. There are two points in the core idea of "drawing Quotations": one is the idea of the unity of nature and man, the whole layout of the "drawing quotation" from 18 chapters, a series of conceptual categories set up around "one painting", and even the textual structure of some chapters. Both reflect the intrinsic and circular nature of the unity of nature and man; second, the concept of Yin and Yang changes. When Shi Tao understands the great laws of the change of heaven and earth, he either unconsciously or consciously treats all things as yin and yang. The most obvious feature is that the propositions appearing in "drawing Quotations" are often in pairs, reflecting Shi Tao's use of Yin and Yang. From the level of the problem involved in the quotation of painting, the quotation of painting can be stripped out of three threads: first, the vein of the idea, secondly, the pulse of the body, and the second, the pulse of the creation. These three veins are connected in series with each chapter. The inner relation of each concept category, and always contains the three talents of heaven, earth and man, and gives the category of heaven, earth and man. One of the reasons why it is difficult to understand is that in the course of Shi Tao's transition from philosophy to painting, there is a gap in the discussion of some problems at the category level, or the transition between the level and the level is not clear. Or in each chapter, the main body is inconsistent and coherent, which makes us feel hopping and difficult to keep up with Shi Tao's "consistent" thinking. The quotation of painting had a subtle influence on the study of painting in the Qing Dynasty, objectively improved the ideological depth of the painting theory of the Qing Dynasty, and promoted the maturation of the thought of literati's painting. Through the selective absorption of the thought of "the quotation of painting" by the painters of the Qing Dynasty, Not only can we see the essential difference between the idea of "painting quotation" and the orthodox painting theory which represents the official ideology, but also reflect the fault in understanding "painting quotation" after the Qing Dynasty.
【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J209.2

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