摘要
中国古老而漫长的农耕文明,导致中国先民对山水有着宗教般的崇拜与敬畏,其中包含着对现代生态文明富于启迪的风景美学思想,中国古代山水画则是风景审美的重要呈现方式。西方汉学对中国古代山水画的研究,不仅是跨文明比较美学研究的产物,而且是现当代西方美学与中国古代风景美学对话的产物。西方美学的科学主义传统有时造成西方汉学对中国古代风景美学的误读,自然审美伦理化并非中国风景美学观念独有,也同样存在于在西方美学之中。中国先民融入山水之中,把欣赏自然之情转化为热爱自然之德,表达了人与自然的和谐与人对自然的谦卑。中国古代山水画描绘的人迹罕至的高山大川,不同于西方风景画局限于目力所及的世界一隅,而是有别于现实世界烦扰喧嚣的和平宁静与理想梦幻之地,蕴涵着意趣高古的原始自然对于生命与心灵不可或缺的重要意义。
China's ancient and long farming civilization has led ancient Chinese to have a religious worship and reverence for landscapes,including the landscape aesthetic thoughts that are enlightening for the modern ecological civilization,and the way to represent Chinese ancient mountain and water painting.The study of Chinese ancient mountain and water painting in Western Sinology is not only a product of cross-civilization comparative aesthetic research,but also of the dialogue between modern and contemporary Western aesthetics and Chinese ancient landscape aesthetics.The scientism tradition of Western aesthetics sometimes leads to misreading of Chinese ancient landscape aesthetics.Ethicalization of natural aesthetics is not exclusive of Chinese landscape aesthetics,which also exists in Western aesthetics.The ancient Chinese integrated themselves into the mountains and rivers,and transformed their appreciation of nature into loving it,expressing the harmony between man and nature and man's humility towards nature.The inaccessible mountains and rivers depicted in ancient Chinese painting is different from Western landscape painting.The former is a peaceful and dreamy world,different from the disturbing and noisy real world.It contains indispensable significance of pristine nature's ancient interest for life and soul;while the latter is a limited view,the corner of the world that can be seen by the eyes.
作者
代迅
王劲
Dai Xun;Wang Jin
出处
《社会科学战线》
CSSCI
北大核心
2023年第7期155-164,282,共11页
Social Science Front
基金
中央高校基本科研业务费项目(2072021015)。
