魏晉玄學的「有無之辨」於藝術的體現－以顧愷之的畫論與畫作為例

顧愷之是中國藝術史上第一位兼具畫論與畫作（摹本）傳世的畫家。畫論中所提出的「形神觀」、「形神兼備」、「以形寫神」和「妙想遷得」等思想，不僅成為藝術家創作時極重要的境界追求，且在對藝術作品的品評與鑑賞時，也是極為重要的圭臬，可見其重要性與影響之廣泛。但後世研究學者幾乎對於顧愷之的探究，幾乎聚焦於所著畫論中所提及或畫作中所顯現出的「形」與「神」、「意」與「象」的論述，較少觸及上述藝術思想與當時魏晉玄學的核心問題「有無之辨」有否關聯性？藝術思想的產生與所處時代的思想發展必有著相關性。因此，筆者在本篇論述中，嘗試能深入探究出身世族門第且具「名士」身分的顧愷之，在傳世的〈畫論〉和〈魏晉勝流畫贊〉兩篇畫論與〈洛神賦〉、〈女史箴圖〉和〈列女仁智圖〉等後世摹本中，是否受到魏晉時期王弼「貴無論」、裴頠「崇有論」和郭象「獨化論」中「有無之辨」思想的影響。

關鍵字

魏晉時期；王弼；顧愷之；有無之辨；體用本末

並列摘要

Gu Kaizhi, as a painter with theory of painting and paintings (copies) in the history of Chinese art, proposed Psyche Theory, Unity of Form and Spirit, Expressing Spirit with Form, and Wonderful Ideas from Nowhere in the theories of painting. Such ideas are not only the mind artists pursuing in the creation, but also the important rules when evaluating and appreciate arts. Apparently, the importance and effects are broad. Nevertheless, most research on Gu Kaizhi focused on Form and Spirit, Meaning and Image mentioned in the theories of painting or in the paintings, but little on the correlations between artistic ideas and Argument of Being and Non-being, the core problem in the metaphysics of Wei and Jin Dynasties. The generation of artistic ideas presents significant correlations with the idea development at the time. The author therefore attempt to explore the effects of Argument of Being and Non-being from Wang Bi's Thought of ＂On Treasuring Nothingness＂, Pei Wei's Theory of Enthrone Entitas, and Guo Xiang's Individualization in Wei adn Jin Dynasties on Gu Kaizhi's, who was born in a noble family and was a ＂famous person＂, theories of painting in ＂Theory of Painting＂ and ＂Introduction of Famous Paintings of Wei adn Jin Dynasties＂ and the copies of ＂Nymph of the Luo River＂, ＂Admonitions of the Instructress to the Palace Ladies＂, and ＂Wise and Benevolent Women＂.

並列關鍵字

Wei adn Jin Dynasties ； Wang Bi ； Gu Kaizhi ； Argument of Being and Non-being ； Essence and Triviality in Substance and Function

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魏晉玄學的「有無之辨」於藝術的體現－以顧愷之的畫論與畫作為例

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