「淡」與審美轉化：由現象學看山水畫

“Blandness” and Aesthetic Transformation: Chinese Painting as seen from a Phenomenological Stance

本文企圖在圍繞山水畫上的「展現」和「淡」這兩項藝術哲學環節上提示倫理維度和藝術實踐之間的聯繫，也就是凸顯出審美活動如何轉成一種生活實踐。延續、擴充海德格的藝術論說，本文根據中國畫論資料和歐洲哲學脈絡下的圖像理論來討論這個問題：藉由審美實踐，人如何關聯到世界，藝術如何具體敞開一個生活場所？借助身體現象學和感受美學這兩種視角的結合，在相關山水畫的古代畫論上可以證成的是：山水畫奠基於身體自我，在觀者身上帶出某種審美轉化。凸顯周遭環境這種特色的畫景給觀者開展其本身所歸屬之「處境」，面對圖畫的審美直觀也就使得觀者返回到自身存在，開顯出一個具體的生活世界。圖像之所以可能引發這種審美效應，起源在於特殊的章法，也就是傾向「淡」和「幽微」的展示特色。本文不但反駁再現論之下的山水詮釋，而且同時也批判與再現論相反之「去再現」這個看法。這一點本文自畫面組成和審美體驗都取得印證。此番探討過程當中特別處理並且反駁的假設是：觀看山水畫這種審美直觀當中，觀者會遺忘自身所處而全身全心投入沉迷於畫景中。與其說畫景吸納觀者，還不如體會到繪畫藝術的展示即是將觀者引到自身「處於世界之中」這種具體屬己狀態。

This paper is concerned with representation and the aesthetical phenomenon of “blandness” in Chinese Painting, in order to evince a crucial relation between aesthetics and ethics. It is shown how aesthetical experience may eventually turn into some kind of living practice. Drawing some inspiration from Heidegger’s discourse on the art work, yet referring to Chinese painting and contemporary media theory, this paper discusses the following question: How can art disclose a concrete life environment and thus, by means of aesthetical practice, give access to the real world? When combining phenomenology of the body with the stance of aesthetics of reception, evidence can be found in ancient Chinese treatises on painting for the following issue: Centered on the bodily self, painting initiates sort of an aesthetical transformation with existential implications. The painted landscape yields the spectator his or her original life situation, thus delivering him or her to the real life world, through intuition of the picture. Crucial for provoking this effect are peculiar ways in which the painting has been executed, the pictorial character of “faint and hidden” being of primary importance. This paper not only rejects classical theories of representation as invalid for Chinese painting, yet also gives a critique of the inverse notion of “de-representation”, by ways of a discussion of the pictorial structure and the process of intuition. Thus the phenomenological assumption that the spectator somehow “immerges” in the picture, forgetting about his real existence and environment, is critically revised in this investigation. Instead the main point it is argued for is that the painting leads the spectator back into his or her original “being-in-the-world”, emphasizing his or her authenticity in existence.