中國山水畫提示的大地經驗

Abstract

面對科技進步與社會發展造成自然被工業歷程汙染和破壞，究其根源在於人對自然的利用、開發走向宰制關係，東西哲人皆肯定中國山水畫在我們重建人與自然的關係有幫助。中國山水畫畫家提及繪畫是在自然中追尋道，但是沈清松以宇宙論和心靈哲學確立山水畫的理論架構，在自然與道的本體架構下，才能讓我們的心靈從山水畫把握到超越的精神境界。儘管朱利安看似不離這個架構，但是似乎重點落在繪畫的中介角色，以中國山水畫畫面的對立要素經營出之間的活力場域，但是又在開啟之外的秩序聯繫我們與世界回到共同的根源。於是兩位哲學家可以互相參照又互相補充，為我們確立山水畫作為畫面上的部分風景，卻指向超越的整體大地。  Whether philosophers come from East and West, they all agree the Chinese Landscape painting offers us the hint to rebuild the human-nature relationship. In the Chinese Landscape painting, the painters confess they pursue the Tao in Nature. Vincent Shen constructs the cosmology and the philosophy of mind to explain the experience of the painters. Tao got the priority and transcendental role in the ontological structure. We can appreciate it in the Chinese Landscape painting with our minds and find pleasure in the spiritual realm. Also, François Jullien agrees with the same ontological structure, but he seems to put his focus on the role of the painting. He points out that the opposite elements in the picture can wave and live out the vital field. And, the landscape realizes the reciprocity between the pole of the self and the world, between interiority and exteriority. Among things, the outside plunges us back to the common ground between the world and us. We can combine the thoughts of these two philosophers, and make them refer to and complete each other. According, what we saw in Chinese Landscape painting is just parts of the landscape, but the whole which goes beyond the landscape, that’s the life on Earth.