中国心画理论与川端康成的文学理念——从写心、适意到求品
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北京语言大学一流学科团队支持计划资助项目(2023YGF02)


The theory of Chinese paintings of mind and the literary concept in the writings of Kawabata Yasunari: From "Capturing the heart" and "Realizing the intention" to "Pursuing refinement"
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    摘要:

    中国自宋以降,在苏轼等精英知识分子的自觉引领下,形成了心画(文人画)传统。这也正是川端康成热爱中国宋元美术的重要原因。在“达吾心”“适吾意”以及诗画结合的精神品格等方面,川端康成的文学理念与中国文人画家的艺术追求十分契合。首先,心画理论强调人情味和抒情性,这是宋代文人画家们在清楚地意识到自己作为士大夫群体的艺术担当之后,着力倡导并身体力行的。而川端康成也认为绘画不仅可以写形状物,更可以表达人的潜在的精神世界,这一艺术观念在其《梦》《阵雨》等小说中均有明显体现。川端康成在大量作品中所描写的绘画都是一种“心画”,它们并不是静止的物体,而是精神的流动。其次,中国宋元时代文人向绘画领域的主动渗透和理论引领,带来了绘画“适吾意”的思潮,使得绘画得以抒“胸中盘郁”。在这一点上,川端的文学创作理念与中国文人画家的主张完全相通,因此也使得其小说中的绘画作品具有了内涵的无限性和解读的丰富性。第三,宋代带有精英阶层之精神自觉的文人对绘画提出指导性的艺术理论,在诗画结合的基础上进一步追求品格。这种绘画理论也伴随中国绘画传入日本的第二次浪潮而东传,这恰值川端康成人生的前三十年,对他的文学道路产生了潜在而深远的影响。中国的心画理论不仅对日本文人画的形成,而且对日本近现代文学都产生了跨文化、跨学科的影响。从川端康成文学的个案可以看到,渗透于域外的中国画论,作为艺术理论的一个侧面,展现了中外文化交流的样态。这一越境的文化传播现象,还有很多极具学术价值的课题值得挖掘和探究。

    Abstract:

    The tradition of "paintings of the mind" (xin hua) (literati painting), which developed in China from the Song Dynasty on under the conscious leadership of Su Shi (1036-1101) and other prominent intellectuals, was an essential element underlying Kawabata Yasunari's love for Song and Yuan art. Kawabata's literary philosophy and his exploration of the art of Chinese literati painters dovetail neatly in the idea of "satisfying one's heart" or "realizing one's intention"—the spirit and refinement found in the union of poetry and painting—and which were deeply reflected in his literary works. Firstly, "paintings of the mind" emphasized the ordinary human feelings and lyrical beauty, which was advocated and practiced by Chinese literati painters after they realized clearly their artistic responsibility as a literati group. And Kawabata Yasunari also believed that not only painting can shape writing and depict objects, but can also express the potential spiritual world of human beings. This artistic concept was well reflected in his works including Dream and Shower. The paintings described in many works of Kawabata Yasunari were "paintings of the mind", they were not motionless objects, but the flow of the mind. Secondly, the intellectuals in Song Dynasty and Yuan Dynasty were actively involved in the area of fine arts and led the trend of the theory, creating an ideological trend of "Realizing the intention" in the area of fine arts, enabling painting as a means of "Expressing one's dissatisfaction". From this point of view, the concept of novel creation of Kawabata Yasunari dovetailed neatly with the Chinese literati painters, enabling the paintings described in his novels with infinite connotations and rich interpretations. Thirdly, the intellectuals with the responsibility of the elite class in Song Dynasty provided the guiding artistic concepts of the fine arts, and maneuvered to pursue the characters on the basis of combing poems with paintings. This painting theory disseminated to Japan together with Chinese paintings during the second surge period of Chinese paintings' spread to Japan, corresponding the first 30 years of the early life of Kawabata Yasunari, and had a potential and extensive impact of his career as a novelist. The "paintings of the mind" theory not only had an influence on the formation of literati paintings in Japan, but also had transcultural and transdisciplinary impacts on modern Japanese literature. As we can observe from the literary works of Kawabata Yasunari, the Chinese painting theory with an impact overseas, as part of an artistic concept, revealed a sample of Sino-foreign cultural exchange. The phenomenon of cross-boundary spreading of culture has great academic value and has the space to be further probed and studied.

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周阅.中国心画理论与川端康成的文学理念——从写心、适意到求品[J].重庆大学学报社会科学版,2024,(1):156-165. DOI:10.11835/j. issn.1008-5831. rw.2024.01.002

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  • 在线发布日期: 2024-03-15
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