Dwelling in the Image: How Should We Look at Pre-modern Chinese Mountain-Water-Paintings?

居於圖像中：如何觀看古代山水畫？

宋灝(Mathias OBERT)

mountain-water-painting ； aesthetic behavior ； picture contemplation ； aesthetics of transformation ； 山水畫 ； 美學工夫 ； 觀畫 ； 轉化美學

中國文哲研究集刊

58期（2021 / 03 / 01）

51 - 87

英文

This paper investigates how ancient Chinese mountain-water-paintings actually work and aesthetically appropriate ways of responding to such pictures. Since antiquity, western aesthetics, which has now become global in scope, has focused on questions concerning the symbolic depiction of real or imaginary objects, visual perception, personal expression, and hermeneutics of the image. In order to complete these perspectives, this paper is concerned with the ethical signification of works of art, as well as with the ethical dimension of aesthetic behavior. What is argued for is an ＂aesthetics of transformation＂. Broadly speaking, we do not only ＂dwell＂ and ＂live＂ in the realm of the imaginary; we also ＂live＂ in artistic images. Beyond mere contemplation, we also engage with artistic images in existentially decisive ways. The aesthetic experience of ancient Chinese mountain-water-painting, in particular, is apt to disclose to the spectator situational access to the real world he or she is actually living in. The real-life situation referred to by a picture should not be conflated with some purely imaginary world perceived in the picture, as such a world would necessarily be restricted to the deceptive and fictitious presence and validity of a mere iconic ＂as if＂. By examining the aesthetic practices of pre-modern China, combined with a critical study of art-theoretical text sources, this article makes the following claim: an eminent mountain-water-picture actually leads the spectator back into his or her own lifeworld, transforming mere intuition or aesthetic contemplation into the existentially relevant disposition of ＂dwelling＂. The ethical result of aesthetics thus consists in a life relation to the surrounding world. This disposition of ＂being-towards-the-world＂ is enacted by the spectators at the very site and in the very situation of their looking at the picture. A detailed analysis of the peculiar structure and characteristics of the image, the act of painting, as well as ways and goals of aesthetic contemplation, supports discussion concerning what exactly is meant by such an existential ＂dwelling in the image＂.

本文的關懷在於探究古代山水畫的運作模式究竟為何，而且我們應當以哪種美學態度與美學工夫來應對山水畫。依循長達幾千年支配著歐洲的思想傳統，美學一直以來聚焦於造形藝術如何象徵或再現某些現實物和想像物，並探討諸種視覺、個人表達、圖像詮釋等方面相關問題。為了彌補這種美學現況，本文採取「轉化美學」的立場，來闡明藝術作品以及美學工夫為何都包含一種倫理學向度。人類不但「居處」、「生活」於想像界之中，而且人類也「生活」在藝術的意象之中。我們不僅觀照畫像，而且我們甚至以指定我們整個存在的方式被其所感動。與其說藝術品透過假象將觀者引到某種僅具「宛如」、欺騙式的境界，倒不如說尤其是對於山水畫的美學體驗足以給觀者在自身處境中開闢通往其實際所生活其中之現實世界的甬道。本文探索古代中國美學工夫的基本模式並對相關畫論資料進行批判性研究，以便證成核心主張，揭示至少傑出的山水畫作品如何將單純的凝視、靜觀轉換成一種「居處」上的生活態度，也就是的確成功地將觀者實際引回至其本身所在的生活世界。美學工夫的倫理學成果在於，經由美學體驗觀者可以為自己實質地奠建與周圍世界的生活關聯。藝術體驗所開啟的這個世界關聯其實被觀者在其正在觀畫之所在和處境具體「活出來」。透過深入分析重要畫論資料的方式本文闡明山水畫的特殊結構及其獨有的圖像身分、作畫的創作模式及美學觀照的目標和模式等議題，來詳細討論「居於圖像中」對人的存在所具有的意義。

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