The journal of the China association of comparative literature was jointly sponsored by the China association of comparative literature and Shanghai international studies university in 1984 ISSN 1006-6101 CN
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Comparative Literature in China ›› 2024, Vol. 0 ›› Issue (4): 49-66.

• Academic Frontier: The Theory and Practice of Cross-Cultural Hermeneutics • Previous Articles     Next Articles

Viewing Objects, Creating Objects and Treating Things Things: A Comparative Study of the Spirit of Arts of West and China from Chinese Landscape Painting

Zhu Ruida   

  • Online:2024-10-23 Published:2024-10-20

观物、造物与物物: 自山水画而视中西艺术精神之辩

朱睿达   

  • 作者简介:朱睿达,文学博士,浙江外国语学院讲师。研究方向:中西比较诗学、汉学研究、国际易学研究。电子邮箱:zrd@zisu.edu.cn。
  • 基金资助:
    国家社科基金重大项目“百年欧美汉学家中国美学学术史研究”(编号:23&ZD300)的阶段性成果。

Abstract: In the 20th century, British scholar Laurence Binyon, German sinologist Richard Wilhelm and Chinese scholar Xu Fuguan have carried out research on the different presentations of Chinese and Western artistic spirits in shanshui (landscape) paintings from their respective academic perspectives, forming a cross-cultural dialogue between Chinese and Western aesthetics on the same topic. Qian Zhongshu's detailed geyi (matching meanings) on the different levels of spirits of Chinese and Western arts has become the key to enter this dialogue. In brief, Chinese artists rely on the “soul” to view objects (guanwu), approaching xinzhai (pure state of heart) of the Taoism, but gewu (studying things [to acquire knowledge]) of the Confucianism also limit the artistic and aesthetic activities to the disciplines of the ethical model; Western artists create objects (zaowu) with “mind” to affirm and confirm the subject spirit of human being through the imitation of God's ability; the “spirit” of treating things things (and being not a thing himself) [wuwu] unifies the potential of the void and peace of heart with the practice of freeing heart to wander in things, and realizes the true freedom of artistic and aesthetic creation under the premise of maintaining the inter-subjectivity. This article holds that moving from the concept of “viewing objects” and “creating objects” between the subject and the object to the complementary realm of “treating things things”, it shows a great artistic spirit inherent in Chinese culture.

Key words: the spirit of arts, Chinese landscape painting, viewing objects, creating objects, treating things things

摘要: 20世纪以来,英国学者宾雍、德国汉学家卫礼贤和中国学者徐复观从各自的学术视野出发,对中西艺术精神在山水(风景)画中的不同呈示展开研究,构成了基于同一议题的中西美学跨文化对话。而钱钟书关于中西文艺精神层次的细密格义,成为进入这场对话的密钥。要之,中国艺术家凭借“性灵”观物,趋近道家所主之心斋,但儒家所主的格物,又使艺术审美活动限于伦理典范的规约当中;西方艺术主以“智思”造物,通过对神的能力的模仿,来对人的主体精神进行肯定和确认;物物之“精神”则将虚静之心的潜能和遊心于物的实践统一,在保持主体间性的前提下实现艺术审美创造的真正自由。本文认为,从主客二分的“观物”“造物”理念达致圆融互生的“物物”境界,展现出中国文化固有的一种伟大艺术精神。

关键词: 艺术精神, 山水画, 观物, 造物, 物物