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新多玛斯主义者吉尔松(Etienne Gilson,1884-1978)曾对于绘画艺术有着深入的探讨,他从艺术哲学的角度论述,厘清了艺术中常常被人错置的观念,亦即把真理与美、知识与艺术混淆在一起的看法。在中国的画论中,荆浩(约833-917)的《笔法记》一文,却恰恰相反于吉尔松企图把真理与艺术区分的努力,直接强调画面上“图真”的重要,在画史上确立了著名的“图真说”。两人相反的看法,与他们对“真理”的定义有着密切的关系。本文在行文上,首先论述吉尔松如何看待绘画中的真理以及他的“真理”概念;接着分析荆浩所谓“图真”的意义并探索“图真”中“真”字所指为何;最后,透过两者的比较,笔者提出他们各自的论点可能给予我们关于绘画真理的一些启示。
Etienne Gilson (1884-1978) once discussed the art of painting in depth. From the perspective of philosophy of art, he elucidated the often erroneous notion of art, that is, Beauty, the confusion of knowledge and art together. In the Chinese painting theory, Jing Hao (833-917) ’s “Writing of Styles of Writing” is exactly the opposite of Jillong’s attempt to distinguish the truth from the art. It directly stresses the importance of the “pictorial” In the history of painting established the famous “truth map ”. The opposite view is closely related to their definition of “truth.” This essay first discusses how Jillsson regards the truth of painting and his concept of “truth”. Then it analyzes the meaning of Jing Hao’s so-called “pictorial truth” and explores the true meaning of “pictorial truth” "Finally, through the comparison of the two, the author put forward their respective arguments may give us some enlightenment on the truth of painting.