中國山水畫的空間表現與海德格此有空間性之對照

Spatial Expression in Chinese Landscape Painting and Dasein's Spatiality

10.7065/MRPC.200807.0077

何佳瑞(Katia Lenehan)

中國山水畫 ； 空間 ； 可居可遊 ； 莊子 ； 道家 ； 海德格 ； 此有 ； 空間性 ； 在世存有 ； 除距 ； 方向性 ； Chinese landscape painting ； space ； dwell and enjoyment ； Zhuangzi ； Taoism ； Heidegger ； Dasein ； spatiality ； being-in-the-world ； de-severance ； directionality

哲學與文化

35卷7期（2008 / 07 / 01）

77 - 100

繁體中文

中國山水畫的畫面空間有其特有的表現手法，尤其相較於西方透視法精準的計算與單一的視點的特色，這種不拘泥於視覺原理的空間表現就更顯突出了。這種空間表現同時也反應出了中國畫家與山水之間的關係，他們並非將大自然視為一個廣大、冷漠的客觀空間，而是與他們切身相關的「可居可遊」的空間（「遊」的境界更可上溯至莊子哲學的道家精神），此時畫家們與山水之間所顯現出的融合無間、物我兩忘的關係，和海德格基於在世存有所描述的此在與世界的統一關係，是相一致的。根據海德格，在此有與世界的原始關係中，它並未將存有者視為一種手前之物，而是將之視為與它密切相關的及手的用具，而此有的空間性，亦是基於這種在世存有的特徵，表現為一種非對象性的、切身的空間。如果說客觀的、可以丈量的科學式空間有意義的話，那也是基於此有與世界這種原始空間才成為可能的。 基於中國山水畫的空間表現與海德格此有空間性的相通，其特殊的表現空間手法，如「使在遠者近」和「景隨人轉」等特徵，正好對應於海德格敘述此有空間性時所表明的此有不可迴避的、原始的存有學結構：「除距」和「方向性」。通過兩者相似性的對照，以此開啟一種中西對話的可能性。

When comparing western painting's 'perspective' technique, which is accomplished through accurate calculation and rigorously set by a single point of perspective with that of Chinese landscape painting, we see that the characteristics of spatial expression in Chinese painting, freed from fixed visual principles, becomes quite remarkable. And these unique characteristics in Chinese landscape paining also reflect the relationship between Chinese painters and space: it is not a strange, vast and indifferent space for them, rather, an intimate one in which they 'dwell' and 'wander' (pronounced as 'You' in Chinese, the idea of 'wander' can be traced back to the philosophy of Zhuangzi in Taoism). In this way the relationship between Chinese painters and nature is one and appears to be similar to the united relationship, according to Heidegger, of Dasein and the world. Dasein as 'Being-in-the–world' never regards beings as objects which are opposite to us and are 'present-at-hand', but rather as equipment ready-to-hand which Dasein is concerned with. Therefore, according to Heidegger, Dasein's spatiality, based on this ontological structure-'Being-in-the-world', is nonobjective and involved with Dasein's Being. And consequently, the measurable and objective space of science is possible, only if it roots in the primordial space that Dasein 'signifies'. The relationship between Chinese painters and nature mentioned above results in special ways to express space in Chinese landscape painting, such as 'making remote things near' and 'scenery following man's view', which are correlated with the ideas of 'de-severance' (making the farness vanish) and 'directionality' (direction towards a region out of which emerges right and left) in Heidegger. Illustrating these similarities provides us an opportunity to have a dialogue between Chinese and western thinking.

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