體物傳神：王夢鷗論中國藝術之抽象觀念化

Tiwuchuanshen: Wang Meng-ou on Abstract Conceptualization in Chinese Art

本文主要以王夢鷗先生發表於1950年代的〈中國藝術抽象觀念化〉一文為切入點，藉此探索王夢鷗撰寫此文的時空背景與影響其觀念的思想資源為何。此文雖是以中國藝術為討論的對象，但由於其中所引用如黎格爾（AloisRiegl，1858-1905）、希德布朗（AdolfvonHildebrand，1847-1921）、華林格爾（WilhelmWorringer，1881-1965）等人之學說，實反應出曾經留學日本的王夢鷗，有可能透過日本的管道，對西方近代文藝觀念的發展有所掌握。而這些西方學說的引介，不僅對當時臺灣畫壇上現代畫的形塑有所啟發；同時，我們也發現，王夢鷗此文對抽象觀念的闡釋，亦對其日後美學體系的「神遊論」產生相當的影響。因此，為了能進一步觀察，王夢鷗如何融合中西的學說，進而形成其獨具特色的美學體系，實有必要對於王夢鷗抽象觀念形成的思想資源及其內容，加以深究。藉由本文的分析可知，黎格爾討論裝飾藝術時所強調的「藝術意欲」、「平面化」、「固定化」；希德布朗討論「形式問題」時所指出的「視覺感」與「觸覺感」；乃至於華林格爾所提出有別於李普斯（移情說）的「抽象衝動說」等學說，皆影響了王夢鷗對於中國藝術抽象觀念的思索。

This paper aims to investigate the historical background and the aesthetic theories which influence Wang Meng-ou ‘s thoughts in Chinese abstract art during the 1950s by starting from analyzing Wang's article “Abstract Conceptualization in Chinese Art.” This article is mainly about Chinese art, but there is also an introduction to the aesthetic insight of Alois Riegl (1858-1905), Adolf von Hilebrand (1847-1921), and Wilhelm Worringer (1881-1965). Wang picked up modern western aesthetic concepts while he was studying in Japan, and these concepts had an influence on his later writings. These theories also inspired modern Taiwanese paintings, and helped Wang establish his own style of aesthetics which is termed as Shenyou (fugue). Thus it is crucial to first understand these aesthetic theories before doing further examining into how Wang formed his own unique style by mixing Chinese and western aesthetic theories. Several ideas will thus be discussed in this paper: will to art (Kunstwollen), Alois Riegl's idea of planarization and immobilization, Adolf von Hilebrand's visual sense of forms (optisch) and tactile reception (haptisch), empathy in art and Wilhelm Worringer's “The urge to abstraction”. After examining these aesthetic concepts, it will be become clear how Wang's ways of seeing and thinking about Chinese abstract art were formed.