| 题名 |
草稿與不了的頌揚：中國藝術詞彙的美學解析 |
| 并列篇名 |
Praise of the Draft: A Study of Aesthetic Terms in Chinese Arts |
| 作者 |
幽蘭(Yolaine Escande) |
| 关键词 |
中國書畫 ； 草圖 ； 草書和草稿 ； 不了 ； 跡 ； 接觸 ； 拓印 ； 心印 ； Sketch ； Unfinished ； Draft ； Cursive Script ； Trace ； Imprint ； Chinese calligraphy and painting |
| 期刊名称 |
哲學與文化 |
| 卷期/出版年月 |
45卷11期（2018 / 11 / 01） |
| 页次 |
27 - 42 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
中國文人繪畫與書法，尤其是草書，與「不了」之畫，所強調的並不是已完成的圖作，亦即立刻能了解、無需解釋、而不引起任何爭論的圖作；反而強調「不了」的畫，讓觀者按照自己的想像力與感受去理解的草稿的圖。但由於這種圖作並不是之後完成的作品的第一個階段，只能稱之為「跡」，是能夠「印」人「心」之「跡」。本文首先思考法文和英文語言中藝術草圖的意義、並探討中國藝術裡草圖和素描的關係。藉以反思有關藝術過程——而非藝術結果——的中國美學語彙的歸類問題。其次，本文有關草圖的研究涉及歐洲文藝復興時期興起的disegno與中國「意在筆前」和「寫意」畫的差異；進而分析草書與草稿和草圖的關係，以探討中國文人以「迹」、「跡」（墨跡）為名的書畫作品與拓印的關係。本文拓印的含義是以喬治．迪迪-于貝爾曼（Georges Didi-Huberman）在《接觸的近似》一書的定義為據。以參照張彥遠《歷代名畫記》，張懷瓘《書斷》，郭若虛《圖畫見聞志》與沈宗騫《芥舟學畫編》等歷代中國文獻為對比。 |
| 英文摘要 |
In Chinese painting as well as in Chinese calligraphy, especially in cursive script (caoshu), what is appreciated and valued is not a completed drawing considered as such, that means a drawing not needing any other interpretation, meaning enough by itself and sufficiently explicit not to occur any confusion or debate. On the contrary, it is a draft or an unfinished drawing or outline, allowing varied interpretations, appreciated according to its capacity to stimulate imagination and to produce an effect on the beholder that connects him or her to the creation. Though what is appreciated and valued is not the sketch for something that would come later. This might explain why artworks are called ＂traces＂, and how they can ＂imprint＂ human's heart. The paper will examine, through the Chinese aesthetic categories-that concern the process much more than the accomplished work result-the differences between the Renaissance's disegno and the Chinese literati's ＂intention＂, the meaning of a ＂drawing＂ in French and in English on the one hand, and on the other hand the meaning of an ＂artwork＂, a ＂sketch＂, a ＂draft＂ in the Chinese arts. The draft will also be examined together with the ＂trace＂ (ji) and the ＂imprint＂ (yin), such as it has been defined by Georges Didi-Huberman in his La ressemblance par contact (2008) (resemblance by contact), by using Chinese theoretical tradition texts, such as Zhang Yanyuan's Annals of Famous painters of Successive Dynasties (Lidai minghua ji), Zhang Huaiguan's Judgements on Calligraphers (Shuduan), Guo Ruoxu's Notes on what I have Heard and Seen on Painting (Tuhua jianwen zhi) and Shen Zongqian's Jiezhou's Apprenticeship on Painting (Jiezhou xuehua bian). |
| 主题分类 |
人文學 >
人文學綜合 |
| 参考文献 |
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