论“天人合一”图样之“真”――以荆浩「匡庐图」为例
The “Truth” of the Pattern of “The Unity of Nature and Man” : Take Jing Hao’s Picture of Kuanglu Tu as an Example
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荆浩是唐末五代著名的理论家和绘画家，他在『笔法记』中提出了“真”的概念。“真“源于老子，经由庄子等人发展。虽然”真“是中国美学中一个重要范畴，然而美学内涵直到唐代都未有人加以阐释，到五代荆浩的『笔法记』中才从理论上进行阐释和界定，“真”也是第一次在绘画理论中明确提出。“真”是荆浩追求的艺术理想，在他的作品「匡庐图」中也处处印证着对“真”的实践。那么荆浩所提出的“真”到底是什么呢？他的“真”又是如何落实到绘画作品上呢？是否有具体的途径或者方法让他去实现“真”的艺术理想？本文主要从道家“天人合一”的角度来分析荆浩的“真”，并结合「匡庐图」中的石头、树木、点景人物来具体分析。荆浩的“真”更多的是穷究天人之际，追求人与自然的天地精神相生，与宇宙生命相感应的境界。本文主要的目的将这种玄虚的概念、神秘的形而上范畴落实到具体可感受的绘画图样上，从而体味荆浩“真”的实现途径就是“天人合一”。
Abstract
Jing Hao, a famous theorist and painter in the late Tang and five dynasties, put forward the concept of “truth” in his Bi Fa Ji (筆法記, Notes On the Techniques of the Brush). “Truth” originated from Laozi and was developed by Zhuangzi and others. Although “truth” is an important category in Chinese aesthetics, the aesthetic connotation was not explained until the Tang Dynasty, and it was not explained and defined theoretically until Jing Hao’s Bi Fa Ji in the Five Dynasties, and “truth” was also clearly put forward in painting theory for the first time. “truth” is the artistic ideal pursued by Jing Hao, and the practice of “truth” is also confirmed everywhere in his works “Kuanglu Tu”. So what is the “truth” proposed by Jing Hao? How does his “truth” translate into his paintings? Is there a specific way or method for him to realize his “true” artistic ideal? This article mainly analyzes Jing Hao’s “truth” from the perspective of the Taoist “the unity of nature and man”(天人合一), and combines the stones, trees, and point characters in the Kuanglu Tu to analyze it specifically. Jing Hao’s “truth” is more about pursuing the realm of mutual birth between the heaven and earth spirit of man and nature, and the life of the universe. The main purpose of this article is to implement this mysterious concept and mysterious metaphysical category into concrete and perceptible painting patterns, so as to appreciate that the way to realize Jing Hao’s “truth” is “the unity of nature and man”.
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