文人画中的肉身性特征

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文人画中的肉身性特征

作者：匡景鹏

来源：《贵州大学学报（艺术版）》2020年第01期

摘 要：“肉身性”又称“肉身思维”，是基于中国传统文化中认知世界的经验而提出的，它不同于西方现代哲学中以梅洛-庞蒂为代表的身体哲学。在中国传统文化语境中，“肉身”概念并不是以反思理性和灵性其存在的前提的，而是以身体基点，是一种推己及物的认知世界的方式，这种思维方式也包含着理性或概念的认知世界的方式。也就说，它既包含了形而上的灵性与观念，也包含了非常个体化的身体感知。这种感知方式总是徘徊于感性与理性之间，我们在认知客观世界的时候，总能意识到主体存在其中;同时，主体的存在又不是以反思客体为其存在的理由的。文章将围绕着上述思维特征，从 “文”“象”和“画”缺乏明显的界限、文人画的创作具有时序性的特征、文人画的观看是一种介于“看”与“读”之间的一种观看方式等方面分析文人画中的肉身性特征。

关键词：肉身性;文人画;文与象;时序性;观 中图分类号：J202 文献标识码：A

文章编号：1671-444X（2020）01-0074-08

国际DOI编码：10.15958/j.cnki.gdxbysb.2020.01.011

Abstract：“Attributes of body” also called “body thinking” is based on the experience of cognitive world in the traditional Chinese culture， different from the body philosophy represented by Merleau-Ponty in the modern Western philosophy. In the traditional Chinese cultural context， the concept of “body” is not on the premise of reflecting the existence of rationality and spirituality， but based on the body itself. It is a cognitive way of perceiving the world with empathy that includes rational or conceptual ways of perceiving the world. In other words， it contains not only metaphysical spirituality and concepts， but also very individual physical perception. This kind of perception always lingers between sensibility and rationality. When we cognize the objective world， we always realize the subject exists in it. Meanwhile， the existence of the subject is not for reflecting the object. Focusing on these thinking characteristics mentioned above， this essay states there lacks distinct boundary between the “character”， “pictograph” and “painting”; the creation of the literati paintings was in a chronological order; and the appreciation of the literati paintings is a viewing way between “looking” and “reading” to analyze the attributes of body in literati paintings.