石濤《畫語錄》探源－自我觀念在藝術與自然中之凸顯

An Investigation into the Sources of Tao-chi's Hua-yü-Iu: Self-realization in Nature and Art

高美慶(KAO MAY-CHING)

《中國文化研究所學報》 8卷2期 (1976/12) Pp. 617-632

https://doi.org/10.29708/JCS.CUHK.197612_8(2).0013

並列摘要

Seen against the background of emphasis on the pursuit of antiquity in the seventeenth- century art world, Tao-chi's treatise, Hua-yü-lu, has been highly praised for its originality and individualism by later artists and critics. Hua-yü-lu certainly contains many original ideas on art; however, it should also be recognized for its links with the rich artistic tradition of the past. This paper attempts to analyze Tao-chi's major theories on nature and art, and to explore their origin in the treatises prior to Tao-chi's time. To paint, according to Tao-chi, means not only to portray the external appearance of the myriad things of heaven and earth, but also to capture the inner spirit of nature, and to partake of nature's creative forces. Similar demands on painting can be found in the T'ang and Sung dynasties, illustrated by quotes from the T'ang-ch'ao ming-hua-lu and Shan-shui ch'un-ch'üan chi. More importantly, in painting, Tao-chi borrows brush and ink to depict nature for the purpose of lodging his exhilaration. Nature and art give way to the self-realization of the artist. Such an attitude makes Tao-chi the spiritual heir to the literati painting tradition founded by Su Shih and Wen T'ung. But the most vital source of creative power comes from the mind or heart (hsin), and the aim here is to transform inner emotions into visible shapes. The concept of hsin has a long history in Chinese aesthetic tradition and can be traced back to the T'ang dynasty. The central idea of Hua-yü-lu is i-hua, which has been variously translated into ＂the primordial line,＂ ＂the unifying one-stroke,＂ and ＂the oneness of brush-stroke,＂ and has been the subject of much discussion in recent studies. We propose to understand i-hua from several interlocking levels: (1) the abstract philosophical principle behind i-hua; (2) the mystical aesthetic experience attainable through i-hua; (3) the intuitive and direct communion with nature achieved through the grasping of the principle and spirit of nature; (4) the basic training in the manipulation of the brush-stroke required by i-hua; and (5) the dissolution of man-made method (fa) which stands in between the union of man and nature. Major ideas of Tao-chi with respect to the above discussion can be traced to the landscape painting theories of the Sung dynasty, especially those of Kuo Hsi and Han Cho; some date further back to the T'ang and even earlier. While this firmly establishes Tao-chi's link with tradition, he is no eclectic. His achievement lies in the great synthesis of traditional values and the insistance on the ultimate goal of self-realization in nature and art.