從郭熙“林泉之心”看中國山水畫的創作與鑑賞

On the Creation and Appreciation of Chinese Landscape Painting through Guo Xi's "Heart of Woods and Streams" (Lin Quan Zhi Xin)

尤煌傑(Huang-Chieh Yu)

《哲學論集》 38期 (2005/07) Pp. 1-24

https://doi.org/10.29699/FJPS.200507.0001

摘要

綜觀郭熙的繪畫理論，在人文與自然的對話當中，一個畫家或山川景觀的鑑賞者要提舉的是以「林泉之心」來對應客觀世界的各種山水景觀，即所謂「山形面面看」，「山形步步移」之謂。 自然山川被以擬人化的方式呈現出來，以回應「林泉之心」的情感狀態。所以有「春山淡冶而如笑……」等擬人化的表情出現。 作為一位山水畫家需要「身即山川而取之」的實踐。山水畫雖不是對於某一實景的寫生，但都必須與真實世界的形狀或構成相吻合的。郭熙提出「莫神於好」、「莫精於勤」、「莫大於飽游飫看」三個要領。另外從透視法的觀點提出「三遠」（高遠、深遠、平遠）之說，以「遠」觀來把握山水的大要。「遠」除了表現真實的物理距離之外，也表現心理距離，以及哲學上的空靈之感。所以「遠」是使家從技術層面的問題，轉入觀念創作階段的一個重要的中介者。 畫家在通過「身即山川而取之」的階段後，心中必須成竹在胸，即所謂「歷歷羅列於胸中」。然後必須有「注精以一之」功夫，一幅作品才能成功。 從鑑賞者的層面來看山水畫或山水景觀，也是通過林泉之心以「養得胸中寬快，意思悅適」的狀態。 郭熙認為山水畫應該是「可行」、「可望」、「可游」、「可居」才是好作品。這說明山水作品與人生喜好山水的心靈相溝通的關係。 郭熙提到「景外意」與「意外妙」這兩個觀念，就是讓觀者在正面的觀賞畫面所傳達的意象之餘，還能看出沒有寫入景中的意思，並能獲得期待之外的妙解或新的意象。因此，才能使林泉之心，就如同山水間的林泉長新、長存，湧泉不絕。

關鍵字

林泉之心 ； 身即山川而取之 ； 三遠 ； 注精以一之 ； 景外意 ； 意外妙

並列摘要

In a general view of Guo Xi's painting theory, regarding the dialogue between humanism and nature, a painter or a spectator of mountain and water landscape is supposed to stress on how to respond to various mountain and water landscapes with the ”heart of woods and streams” (Lin Quan Zhi Xin), which is what we mean by ”mountains change and transform along with the differences in perspective and distance.”
Mountains and waters are personified in response to the emotional state of the ”heart of woods and streams;” therefore we can see personified expressions like ”mountains in spring look like young maids with light make-up smiling.”
To be a landscape painter, one needs to practice the idea of ”taking the view with your heart on the spot within the mountains and waters.” Though landscape painting is not depicting real scenes, you have to follow the forms and constructions of the real world. Guo Xi proposed three guidelines: first, ”a good scene makes a good painting”; second, ”practice makes perfect”; and third, ”incessant appreciation of the forms and images of the landscape enables one to capture the versatile faces of mountains and waters.” Besides, he also suggested the idea of three perspectives (San Yuan)--the perspective of altitude, the perspective of depth, and the perspective width--to grasp the major principle of landscape painting. Other than expressing the physical distance in reality, ”perspective” also shows the psychological distance and the sense of philosophical spirituality. Accordingly, ”perspective” is the mediator through which a painter transfers from technicality to stage of ideal creation.
After the stage of ”taking the view with your heart on the spot within the mountains and waters,” the painter must have some mastery of what he is doing, which is the so-called ”internal display of the landscapes one has seen.” Then it takes the effort of ”expressing a unified impression about these landscapes” for a piece of landscape painting to impress the spectators.
Seeing the landscape in a spectator's state of mind is to attain aesthetic pleasure by means of the ”heart of woods and streams.”
In Guo Xi's opinion, a piece of good landscape painting should be ”passable,” ”appreciable,” ”enjoyable” and ”livable.” Such a statement demonstrates the kindred spiritual relationship between landscape painting and the mind enjoying mountains and waters.
Guo Xi also mentioned the two ideas of the ”meaning beyond the scenery” and the ”wonder beyond the meaning,” through which the spectator can appreciate not only the images in the painting but also the meaning beyond the painting as well as the wondrous interpretations and new images. Thence, the ”heart of woods and streams” can ever grow, ever exist and ever spring along with the woods and streams within the mountains and waters.

並列關鍵字

Heart of Woods and Streams Lin Quan Zhi Xin ； Taking the View with Your Heart on the Spot within the Mountains and Waters ； Three Perspectives San Yuan ； Unified Impression ； Meaning beyond the Scenery ； Wonder