宋代画论美学研究
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摘要
在中国绘画史上,宋代画论、画评、画史著作数量众多,内容丰富,包含有多方面的美学思想,在中国美学史上占有重要地位。过去已有一些学者进行过研究,并取得了一定的成绩,但现在看来还不够全面、充分、具体和深入,特别是侧重从哲学、美学的角度来进行研究的比较少。本文试图从宋代社会经济文化的特点及宋代哲学思潮(理学与禅宗)的演变对宋代绘画和绘画思想的影响两个方面,对宋代所有的画评、画论、画史著作做一次较全面深入的解读,希望能把包含于其中的美学思想剖析出来,推进对宋代画论美学的研究。
本文认为宋代社会经济有如下的一些特点,并且和包含绘画在内的宋代文化的发展密切相关。第一、在历史上曾发生过长期重大影响的门阀世族的力量已彻底消亡,广大庶族地主阶级的兴起成为宋代皇权政治的基础,出身庶族地主的众多文人士大夫的社会政治地位显著提高。第二、南北经济交融,农业、手工业及与之相关的科技有了重要的发展。第三、商业以及海外贸易空前繁荣,出现了许多人众多的大城市。
社会经济上的重大变化和发展必然要反映到文化上来,要求文化也要有相应的发展。由于宋代皇权政治的基础不再是少数门阀世族,而是广大的庶族地主阶级以及民间的工商业者,这使宋文化与前代相比,有一种走向社会各阶级、阶层的特征,和民间世俗的生活有更为密切的联系。从思想学术方面看,宋代有“书院”制度的建立,允许民间讲学。传统的儒学转变为“理学”,一方面对儒学的仁义道德、纲常伦理作了一种很为系统的哲学论证,更一方面又把它充分地条理化,并通过对“四书”的研究、阅读、学习广泛地普及与民间。理学之外的禅宗也同样世俗化了。在文艺方面,仅就绘画来说,正是建立了制度严密、规模宏大的画院,有力地推动了中国绘画的繁荣发展。院外的众多文人,不论是做官的或在野的,都以很大的兴趣从事绘画创作,在中国绘画史上第一次真正完全形成了一个文人画派或由众多有共同特征的文人组成的绘画艺术群体,文人绘画的地位空前提高。在宋代,院画与文人画既是相互区别的,又是相互影响、相互作用、相互补充的,不是处处相互排斥的。自“五四”前后以来到现在,在对中国画的研究中,存在着一种尽力提高文人画的价值和地位,轻视以致否定院画的贡献的倾向。本文认为这是一种应当加纠正的片
Although there were several studies on theory of paintings of Song Dynasty and those equally have accomplished definite results, nevertheless, it still required advanced aesthetical research in this field. Especially, fundamental discussions and studies in the relation of socio-economical base in Song Dynasty are still more needed. And accordingly, it is necessary to advent upgraded aesthetical articles. Li xue(理学) deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism(道家) and Zen Buddhism(禅宗) also did, especially the Zen's influence was prominent. In this way, those tripartite usually permeated one another. But up to the present former studies were lack of weight and depth on this point. So this essay tries to focus on development of paintings and its theories of Song Dynasty from an aesthetical point of view.Economically speaking, Song Dynasty has several kinds of characteristics as its background. 1. Aristocratic families those who politically influential and economically dominant for generations were thoroughly ruin, and disappeared from stage of history. 2. Manufacture system was highly developed in accordance to scientific and technological progress as historical landmarks. 3. There was prosperity of commerce and commercial transaction. 4. Remarkable growth of modernistic big walled city and increase of population. 5. Economic interchanges between the north and the south. Those economic backgrounds were inevitably to affected cultural aspects. Let us make sense of cultural peculiarities in Song Dynasty. 1. Literati class from mass of the common people and literati art emerged. The literati art was classified with court art of aristocratic class. 2. Prosperity of commerce and big walled city had art consumers changed, and after all, had art changed.And then, we can find a few obvious characteristics as cultural back ground in Song Dynasty. 1. The advent of literati class and art of their own. 2. Thriving commerce and flourishing big walled city accomplished extraordinary action to the art and literature. 3. Philosophy also expressed the enormous renovation. The special features of "Li xue(理学)" as a part of "neo-Confucianism(新儒学)" newly met some special qualities like secularization, systematization, and logical sequence. Thus Confucianism was more closely related to everyday life of common people. Its fundamental conception was "Li(理)". In Song Dynasty, government based on ideology was more and more strengthened, yet Confucianism as a philosophy was more and more secularized. 4. Excluding "Li xue(理学)", another important school was "Zen Buddhism(禅宗)". Let us make out connection of "Li xue(理学)" and aesthetics in first.There were various linking points that connect Li xue to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi(孔子) and Yan Hui(颜回)" 2. Esteem of "life and vitality(生意)". Scholars of Ii xue in Song regarded the pleasure of acting up to "benevolence(仁)" as a beauty, and this benevolence originated in the "heaven and earth(天地); the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe(天地阴阳)", thus the natural "life and vitality"(生意) of the "heaven and earth(天地)" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation(静观)". Originally the "serene contemplation(静观)" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In "Ii xue", moral ontology and cosmic ontology are inseparably related with each other, and these are resulted from realization of the "Four origins(四端;仁义礼智)". In the same manner, the "pleasure(乐)" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point,
the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li(S)" or "Qi^)" that producing all things is "coming of itself ( S^M^) ", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition^^.)". Scholars of "Li xue" ordinarily valued much of "disposition of a sage (SA^^-)", consequently this tendency influenced on aesthetics. "disposition('fet s|t)" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing knowledge by inquiry of things (I&^JS&I)", "study the laws of nature by close access(EP$3 ^?S)" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li(S)" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty.On the other hand, "Zen Buddhism^tr)" also flourished in Song Dynasty. It positively served to government of Song, accordingly was blessed with upholding of ruling class of Song Dynasty. For this reason there appeared tendency of pursue of the Zen's Utopia whether it was poetry or painting in Song period.Let us sum up Zen Buddhism's influences to art and literature, and aesthetics in Song Dynasty. 1. Tendency of pursue of the Zen's Utopia. 2. Comprehending poetry depend of the Zen. 3. Arguing paintings on the basis of the Zen."Court painting" and "literati painting" had a different style of origination in Song Dynasty. Song period not only accomplished epoch-making development of "court painting", but also was the times that suddenly rise "literati painting" in the true sense of the word. However both styles were not confronted with each other.Paintings of Song Dynasty had various identifying marks. 1. Province of the south and the north in the connection with "the southern sect(^^)" and "the northern sect(Jt^)". 2. A sphere of coloration and India ink. 3. Classification of depictive brush-painting and description of meaning. 4. Division of court painting and literati painting. 5. Interaction between secularization and aristocracy. 6. Momentous realization in describing the natural beauty. 7. Unification of poetry and painting. 8. Systematization of theory of painting. 9. Collecting and judging of works. 10. The times full-scaled development and prosperity of Chinese paintings.Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of court painting as : [LJnQuan Gao Zbi(W^.Mt gQ] by Guo Xi($H&B) and Guo Si($[5Jg), [Shan Shut Chun Quan Ji{\h7^M±M)] by Han Zhuo($5#lj), [XuanHeHuaPu(MMm^)) by Han Zhuo(#|tU), [GuangQuan Hua Ba(f )\\M$fc)) by Dong You(lgii). And there were essays of literati painting as : \Yi Zhou Ming Him Lu(M.')'H￡i WOk)] by Huang Xiufu(M'i^ U), [Song Chao MingH.ua Ving^tM&Wtfi)} by Liu Daochun(>ClJjtSI), [Tu Huajian Wen ZA/(SljJLfi ;&)] by Guo Ruoxu(f[5^fli), [HuaJi(M^.)] by Deng Chun(^#), and there were number of essays of
various authors like Ouyang Xiu^fcPH^), Su Shi(^$$), Huang Tingjian^EM), Mi Fu^if), etc.Even if "court painting" and "literati painting" went differential way of progress, but those were not diametrically opposed in Song Dynasty. Needless to say, paintings of Song Dynasty were inseparably related with its theory. Though that theory also contained court painting and literati painting, still die bodi were not fundamentally opposed.Characteristics of painting aesthetics of the Song Dynasty can be presented as : 1. Supposing that theory of court painting and literati painting were more or less had a distinction, still the both commonly accepted the ideas of "Li xue" and "Zen Buddhism". Court painting and its theory mainly received die influence of "study die laws of nature by close access(BP^J^jBl)" and "completing knowledge by inquiry of things($r$}?$L$.U)" of "Li xue". On the contrary, literati painting and its dieory principally accepted the influence of "Mind^fr)" of "Zen Buddhism". 2. court painting was not merely pursued "similitude of shape^^)" but also was to present "IA(M)" and "artistic atmosphereCHtl)" of the "all tilings of the universe(^ife^J^)". However, Literati painting of Song Dynasty was not entirely exclude "similitude of shape^jl^)", too. 3. The both of those attached importance to discipline of a painter oneself. 4. The both of those pursued unity of poetry and painting, and furthermore sought for the union of "Yi(2)" and "Dao(it)"Up to the Ming and the Qing Dynasties, the relationship of "literati painting" and "court painting" had converted anodier relationship as paintings of the Song Dynasty and diat of the Yuan Dynasty. The Ming Dynasty was, so to speak, the confluence of paintings of the Yuan and the Song. One hand it based on paintings of the Yuan Dynasty absorbed painting of the Song Dynasty, hence die spirit of art was development of the Yuan's spirit. On the other hand it based on paintings of the Song Dynasty absorbed painting of the Yuan Dynasty, so the spirit of art was development of the Song's spirit. Before and after "May 4rth movement(3l E3)" the status of literati painting exceedingly elevated up, because modern Western painting was introduced and influenced to Chinese painting in those days. But today we have to break down narrow-mindedness that respectful to literati painting and disregardful to court painting. On the contrary, we need to exalt the court painting as the secularism in the tradition of social life. Moreover, it is necessary that we do not include the tradition of court painting in compass of traditional literati painting, as well as observe nature as it is and practice basic techniques. After all, key point depend on issues that how the relations of literati painting and court painting of Song Dynasty had been progressing, subsequently making mutual supplement. And it depends on how we comment on die progress and mutual supplement of these. This essay makes much of this pointIn the end, cultural interchanges as well as commercial exchanges between Korea and China had been quite frequent in Song period. This essay argues on interchange of painting between Korea and China centering around historical documentary record.
本文认为宋代社会经济有如下的一些特点,并且和包含绘画在内的宋代文化的发展密切相关。第一、在历史上曾发生过长期重大影响的门阀世族的力量已彻底消亡,广大庶族地主阶级的兴起成为宋代皇权政治的基础,出身庶族地主的众多文人士大夫的社会政治地位显著提高。第二、南北经济交融,农业、手工业及与之相关的科技有了重要的发展。第三、商业以及海外贸易空前繁荣,出现了许多人众多的大城市。
社会经济上的重大变化和发展必然要反映到文化上来,要求文化也要有相应的发展。由于宋代皇权政治的基础不再是少数门阀世族,而是广大的庶族地主阶级以及民间的工商业者,这使宋文化与前代相比,有一种走向社会各阶级、阶层的特征,和民间世俗的生活有更为密切的联系。从思想学术方面看,宋代有“书院”制度的建立,允许民间讲学。传统的儒学转变为“理学”,一方面对儒学的仁义道德、纲常伦理作了一种很为系统的哲学论证,更一方面又把它充分地条理化,并通过对“四书”的研究、阅读、学习广泛地普及与民间。理学之外的禅宗也同样世俗化了。在文艺方面,仅就绘画来说,正是建立了制度严密、规模宏大的画院,有力地推动了中国绘画的繁荣发展。院外的众多文人,不论是做官的或在野的,都以很大的兴趣从事绘画创作,在中国绘画史上第一次真正完全形成了一个文人画派或由众多有共同特征的文人组成的绘画艺术群体,文人绘画的地位空前提高。在宋代,院画与文人画既是相互区别的,又是相互影响、相互作用、相互补充的,不是处处相互排斥的。自“五四”前后以来到现在,在对中国画的研究中,存在着一种尽力提高文人画的价值和地位,轻视以致否定院画的贡献的倾向。本文认为这是一种应当加纠正的片
Although there were several studies on theory of paintings of Song Dynasty and those equally have accomplished definite results, nevertheless, it still required advanced aesthetical research in this field. Especially, fundamental discussions and studies in the relation of socio-economical base in Song Dynasty are still more needed. And accordingly, it is necessary to advent upgraded aesthetical articles. Li xue(理学) deeply influenced upon paintings and its theories in Song Dynasty. Similarly, Taoism(道家) and Zen Buddhism(禅宗) also did, especially the Zen's influence was prominent. In this way, those tripartite usually permeated one another. But up to the present former studies were lack of weight and depth on this point. So this essay tries to focus on development of paintings and its theories of Song Dynasty from an aesthetical point of view.Economically speaking, Song Dynasty has several kinds of characteristics as its background. 1. Aristocratic families those who politically influential and economically dominant for generations were thoroughly ruin, and disappeared from stage of history. 2. Manufacture system was highly developed in accordance to scientific and technological progress as historical landmarks. 3. There was prosperity of commerce and commercial transaction. 4. Remarkable growth of modernistic big walled city and increase of population. 5. Economic interchanges between the north and the south. Those economic backgrounds were inevitably to affected cultural aspects. Let us make sense of cultural peculiarities in Song Dynasty. 1. Literati class from mass of the common people and literati art emerged. The literati art was classified with court art of aristocratic class. 2. Prosperity of commerce and big walled city had art consumers changed, and after all, had art changed.And then, we can find a few obvious characteristics as cultural back ground in Song Dynasty. 1. The advent of literati class and art of their own. 2. Thriving commerce and flourishing big walled city accomplished extraordinary action to the art and literature. 3. Philosophy also expressed the enormous renovation. The special features of "Li xue(理学)" as a part of "neo-Confucianism(新儒学)" newly met some special qualities like secularization, systematization, and logical sequence. Thus Confucianism was more closely related to everyday life of common people. Its fundamental conception was "Li(理)". In Song Dynasty, government based on ideology was more and more strengthened, yet Confucianism as a philosophy was more and more secularized. 4. Excluding "Li xue(理学)", another important school was "Zen Buddhism(禅宗)". Let us make out connection of "Li xue(理学)" and aesthetics in first.There were various linking points that connect Li xue to aesthetics in Song Dynasty as following. 1. The traditional moral as "pursuing pleasure of Kong-zi(孔子) and Yan Hui(颜回)" 2. Esteem of "life and vitality(生意)". Scholars of Ii xue in Song regarded the pleasure of acting up to "benevolence(仁)" as a beauty, and this benevolence originated in the "heaven and earth(天地); the universe". "Benevolence", that is to say, is name of the nature that continuous reproduction breed in an endless succession by "Yin-Yang the universe(天地阴阳)", thus the natural "life and vitality"(生意) of the "heaven and earth(天地)" as the matter of course is the perfect beauty. 3. An idea of "serene contemplation(静观)". Originally the "serene contemplation(静观)" belongs to discipline of "Li xue", however simultaneously this conception was entirely applicable to aesthetic point of view. 4. Cosmological consciousness. In "Ii xue", moral ontology and cosmic ontology are inseparably related with each other, and these are resulted from realization of the "Four origins(四端;仁义礼智)". In the same manner, the "pleasure(乐)" which is moralistic and moreover aesthetic is indivisible from cosmic contemplation itself. Because of this point,
the art and aesthetics of Song Dynasty self-consciously had the cosmological consciousness in its fullness. 5. Respect of beauty of nature. Scholars of "Li xue" considered as : no matter what "Li(S)" or "Qi^)" that producing all things is "coming of itself ( S^M^) ", that is by no means artificially operated or prearranged in advance. Such standpoint was applied to creative art and made art of Song Dynasty esteem beauty of nature (coming of itself) exceedingly. 6. Laying stress on "disposition^^.)". Scholars of "Li xue" ordinarily valued much of "disposition of a sage (SA^^-)", consequently this tendency influenced on aesthetics. "disposition('fet s|t)" indicates the whole impression that one who has appearance and the inside(personality, temper, thought, etc.) gives to others. By putting that impression into practice of art and literature, it is to materialize the works of art as a unity of form and subject, also as an expression of human existence that breathed into one's sensibility on the whole. 7. Principles of "completing knowledge by inquiry of things (I&^JS&I)", "study the laws of nature by close access(EP$3 ^?S)" of "Li xue". These principles made art and literature of Song Dynasty take a serious view of "Li(S)" of all over the universe, so made them close investigate things, and after all have achieved very remarkable characteristic in art and literature, especially in paintings of Song Dynasty.On the other hand, "Zen Buddhism^tr)" also flourished in Song Dynasty. It positively served to government of Song, accordingly was blessed with upholding of ruling class of Song Dynasty. For this reason there appeared tendency of pursue of the Zen's Utopia whether it was poetry or painting in Song period.Let us sum up Zen Buddhism's influences to art and literature, and aesthetics in Song Dynasty. 1. Tendency of pursue of the Zen's Utopia. 2. Comprehending poetry depend of the Zen. 3. Arguing paintings on the basis of the Zen."Court painting" and "literati painting" had a different style of origination in Song Dynasty. Song period not only accomplished epoch-making development of "court painting", but also was the times that suddenly rise "literati painting" in the true sense of the word. However both styles were not confronted with each other.Paintings of Song Dynasty had various identifying marks. 1. Province of the south and the north in the connection with "the southern sect(^^)" and "the northern sect(Jt^)". 2. A sphere of coloration and India ink. 3. Classification of depictive brush-painting and description of meaning. 4. Division of court painting and literati painting. 5. Interaction between secularization and aristocracy. 6. Momentous realization in describing the natural beauty. 7. Unification of poetry and painting. 8. Systematization of theory of painting. 9. Collecting and judging of works. 10. The times full-scaled development and prosperity of Chinese paintings.Theory of painting in Song Dynasty had occupied considerably high position in Chinese aesthetic history. It was positively superior to former generations no matter what in quantity or in theoretical minuteness and its systematic level. Undoubtedly the Chinese theory of painting had been achieving development time after time since Song Dynasty. However if we could make a comparison it with every single period (ex. Yuan, Ming, and Qing Dynasties), there is no prominent period than Song Dynasty in theory of paintings. Song period had number of essays of court painting as : [LJnQuan Gao Zbi(W^.Mt gQ] by Guo Xi($H&B) and Guo Si($[5Jg), [Shan Shut Chun Quan Ji{\h7^M±M)] by Han Zhuo($5#lj), [XuanHeHuaPu(MMm^)) by Han Zhuo(#|tU), [GuangQuan Hua Ba(f )\\M$fc)) by Dong You(lgii). And there were essays of literati painting as : \Yi Zhou Ming Him Lu(M.')'H￡i WOk)] by Huang Xiufu(M'i^ U), [Song Chao MingH.ua Ving^tM&Wtfi)} by Liu Daochun(>ClJjtSI), [Tu Huajian Wen ZA/(SljJLfi ;&)] by Guo Ruoxu(f[5^fli), [HuaJi(M^.)] by Deng Chun(^#), and there were number of essays of
various authors like Ouyang Xiu^fcPH^), Su Shi(^$$), Huang Tingjian^EM), Mi Fu^if), etc.Even if "court painting" and "literati painting" went differential way of progress, but those were not diametrically opposed in Song Dynasty. Needless to say, paintings of Song Dynasty were inseparably related with its theory. Though that theory also contained court painting and literati painting, still die bodi were not fundamentally opposed.Characteristics of painting aesthetics of the Song Dynasty can be presented as : 1. Supposing that theory of court painting and literati painting were more or less had a distinction, still the both commonly accepted the ideas of "Li xue" and "Zen Buddhism". Court painting and its theory mainly received die influence of "study die laws of nature by close access(BP^J^jBl)" and "completing knowledge by inquiry of things($r$}?$L$.U)" of "Li xue". On the contrary, literati painting and its dieory principally accepted the influence of "Mind^fr)" of "Zen Buddhism". 2. court painting was not merely pursued "similitude of shape^^)" but also was to present "IA(M)" and "artistic atmosphereCHtl)" of the "all tilings of the universe(^ife^J^)". However, Literati painting of Song Dynasty was not entirely exclude "similitude of shape^jl^)", too. 3. The both of those attached importance to discipline of a painter oneself. 4. The both of those pursued unity of poetry and painting, and furthermore sought for the union of "Yi(2)" and "Dao(it)"Up to the Ming and the Qing Dynasties, the relationship of "literati painting" and "court painting" had converted anodier relationship as paintings of the Song Dynasty and diat of the Yuan Dynasty. The Ming Dynasty was, so to speak, the confluence of paintings of the Yuan and the Song. One hand it based on paintings of the Yuan Dynasty absorbed painting of the Song Dynasty, hence die spirit of art was development of the Yuan's spirit. On the other hand it based on paintings of the Song Dynasty absorbed painting of the Yuan Dynasty, so the spirit of art was development of the Song's spirit. Before and after "May 4rth movement(3l E3)" the status of literati painting exceedingly elevated up, because modern Western painting was introduced and influenced to Chinese painting in those days. But today we have to break down narrow-mindedness that respectful to literati painting and disregardful to court painting. On the contrary, we need to exalt the court painting as the secularism in the tradition of social life. Moreover, it is necessary that we do not include the tradition of court painting in compass of traditional literati painting, as well as observe nature as it is and practice basic techniques. After all, key point depend on issues that how the relations of literati painting and court painting of Song Dynasty had been progressing, subsequently making mutual supplement. And it depends on how we comment on die progress and mutual supplement of these. This essay makes much of this pointIn the end, cultural interchanges as well as commercial exchanges between Korea and China had been quite frequent in Song period. This essay argues on interchange of painting between Korea and China centering around historical documentary record.
引文
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18.《欧阳修全集》
19.庞朴 主编,《中国儒学》全四册,上海,东方出版中心,1997。
20.[宋]普济,苏渊雷点校,《五灯会元》,北京,中华书局,1997。
21.《苏轼全集》。
22.《唐诗三百首全译》,贵州人民出版社
23.王建 主编,《儒学三百题》,上海古籍出版社,2001。
24.王守仁,《王阳明全集》上下,王守仁,上海古籍出版社,1997。
25.王维,《王维集校注》,北京,中华书局,1997。
26.杨伯峻,《论语译注》,北京,中华书局,1996。
27.杨伯峻 译注,《孟子》,北京,中华书局,1995。
28.张彦远撰、承载译注,《历代名画记全译》,贵州,贵州人民出版社,1999。
29.张载,《张子正蒙》,上海,上海古籍出版社,2000。
30.中国社会科学院文学研究所编,《唐宋词选》,北京,人民文学出版社,2002。
31.周敦颐,《周子通书》,上海,上海古籍出版社,2000。
32.周振甫 译注,《周易译注》,中华书局。
33.《中国文化史三百题》,上海古籍出版社,1998。
34.《简明中国历史地图集》,北京,中国地图出版社,1996。
35.中国孔子基金会编,《中国儒学百科全书》,中国大百科全书出版社,北京,1997。
36.朱熹,《四书章句集注》,中华书局,1996。
37.朱熹,《朱熹集》全十册,成都,四川教育出版社,1996。
1.阿诺德·汤因比(Arnold Toynbee),《历史研究》(A Study of History);刘北成,郭小凌译,上海,上海人民出版社,2000。
2.白寿彝 主编,《中国通史纲要》,上海,上海人民出版社,1983。
3.北京大学中哲史教研室,《中国哲学史教学资料选辑》上下,中华书局。
4.陈来,《宋明理学》,沈阳,辽宁教育出版社,1995。
5.陈尚胜,《中韩交流三千年》,北京,中华书局,1997。
6.陈少峰,《中国伦理学史》上下,北京大学出版社,1996。
7.陈振,《宋史》,上海人民出版社,2003。
8.陈钟凡,《两宋思想述评》,北京,东方出版社,1996。
9.崔大华,《庄学研究》,北京,人民出版社
10.丁为祥,《虚其相即——张载哲学体系及其定位》,人民出版社,北京,2000。
11.冯友兰,《中国哲学史》上下,上海,华东师范大学出版社,2002。
12.冯友兰,《中国哲学史新篇》共六卷,北京,人民出版社,1995。
13.冯友兰,《中国哲学简史》,北京大学出版社。
14.葛兆光,《中国思想史》(全3册),上海,复旦大学出版社,2002。
15.洪修平、吴永和,《禅学与玄学》,浙江人民出版社。
16.忽滑谷快天(日) 著,朱谦之 译,《韩国禅教史》,北京,中国社会科学出版社,1995。
17.侯外庐、邱汉生、张岂之主编,《宋明理学史》上下,北京,人民出版社,1997。
18.牟宗三,《中国哲学十九讲》,上海,上海古籍出版社,1998。
19.牟宗三,《中西哲学之会通十四讲》,上海,上海古籍出版社,1998。
20.潘富恩、徐洪兴主编,《中国理学》,上海,东方出版中心,2002。
21.钱穆,《朱子学提纲》,北京,三联书店,2002。
22.钱穆,《宋代理学三书随劄》,北京,三联书店,2002。
23.任崇岳,《宋徽宗、宋钦宗》,长春,吉林文史出版社,1996。
24.任继愈,《中国哲学史》共四卷,北京,人民出版社
25.任继愈 主编,《中国道教史》,北京,中国社会科学出版社,2001。
26.《儒教文化研究》,第一集,Seoul,成均馆大学校,2000。
27.M.韦伯(Max Weber),《儒教与道教》(Konfuzianismus und Taoismus),南京,江苏人民出版社,1997。
28.张岱年,《中国哲学大纲》,北京,中国社会科学院出版社。
29.张立文,《朱熹思想研究》(修订本),北京,中国社会科学出版社,2001。
30.朱伯崑,《易学哲学史》共四卷,北京,华夏出版社,1995。
1.安岐,《墨缘彙观》,岭南美术出版社,1994。
2.北京大学哲学系美学教研室编,《中国美学史资料选编》上下,北京,中华书局,1980。
3.薄松年主编,《中国美术史教程》,西安,陕西人民美术出版社,2000。
4.James Cahill,《中国绘丽史(Chinese Painting)》,Treasures of Asia Series,skira,1960;赵善美译,悦话堂,2002。
5.蔡罕,《北宋翰林图画院及其院画研究》,杭州,浙江人民出版社,2002。
6.陈衡恪,《中国文人画之研究》,昆明,中华书局,(民国30年)1941。
7.陈传席,《中国绘画美学史》上下,北京,人民美术出版社,2000。
8.陈方既、雷志雄,《书法美学思想史》,郑州,河南美术出版社,1997。
9.陈华昌,《唐代诗与画的相关性研究》,西安,陕西人民美术出版社,1993。
10.陈望衡,《中国古典美学史》,长沙,湖南教育出版社,1998。
11.成复旺,《中国美学范畴辞典》,北京,中国人民大学出版社。
12.成复旺,《中国古代的人学与美学》,北京,中国人民大学出版社。
13.迟轲 主编,《西方美术理论文选》,成都,四川美术出版社,1993。
14.邓乔彬,《中国绘画思想史》,贵州,贵州人民出版社,2002。
15.董欣宾、郑奇,《六法生态论》,南京,江苏美术出版社,1990。
16.James Elkins,《两方美术史中的中国山水画(Chinese Landscape Painting As Western Art History)》,杭州,中同美术学院出版社,1999。
17.樊波,《中国书画美学史纲》,长春,吉林美术出版社,1998。
18.冯先铭主编,《中国陶瓷》(修订本),上海,上海古籍出版社,2001。
19.[日]冈村繁译注,俞慰刚译,《历代名画记译注》,上海古籍出版社,2002。
20.桂第子译注,《宣和书谱》(中国书画论从书6),长沙,湖南美术出版社,1999。
21.郭因,《中国绘画美学史稿》,北京,人民美术出版社,1981。
22.何楚熊,《中国画论研究》,北京,中国社会科学出版社,1996。
23.何志明、潘运告编著,《唐五代画论》(中国书画论丛书5),长沙,湖南美术出版社,1997。
24.洪再新 编著,《中国美术史》,杭州,中国美术学院出版社,1998。
25.黄河涛,《禅与中国艺术精神的嬗变》,商务印书馆
26.季伏昆 编著,《中国书论辑要》,南京,江苏美术出版社,2000。
27.蒋孔阳,《蒋孔阳自选集》,重庆出版社,1999。
28.蒋勋,《中国美术史》,北京,三联书店,1993。
29.孔新苗、张萍,《中西美术比较》,济南,山东画报出版社,2002。
30.李戏鱼,《中国画论》,郑州大学科研处印
31.李泽厚,《中国思想史论(古代、近代、现代)》上中下,合肥,安徽文艺出版社,1999。
32.李泽厚,《美学三书》(美的历程、华夏美学、美学四讲),合肥,安徽文艺出版社,1999。
33.李泽厚、刘纲纪 主编,《中国美学史》第一卷,北京,中国社会科学出版社,1987。
34.李泽厚、刘纲纪,《中国美学史》(先秦两汉编),合肥,安徽文艺出版社,1999。
35.李泽厚、刘纲纪,《中国美学史》(魏晋南北朝编)上下,合肥,安徽文艺出版社,1999。
36.[日]笠原仲二著,魏常海译,《古代中国人的美意识》,北京大学出版社
37.林木,《明清文人丽新潮》,上海人民美术出版社,1991。
38.林英芳,《现代美术的理解》,Seoul,Seoul大学出版社。
39.刘纲纪,《书法美学简论》,武汉,湖北教育出版社,1985。
40.刘纲纪,《艺术哲学》,武汉,湖北人民出版社,1986。
41.刘纲纪,《美学与哲学》,武汉,湖北人民出版社,1986。
42.刘纲纪,《周易美学》,长沙,湖南教育出版社,1992。
43.刘纲纪,《书法美》,武汉,湖北教育出版社,1995。
44.刘纲纪,《文征明》,长春,吉林美术出版社,1996。
45.刘纲纪,《美学纲要》,武汉大学,1996。
46.刘纲纪,《传统文化、哲学与美学》,桂林,广西师范大学出版社,1997。
47.刘道广,《中国古代艺术思想史》,上海人民出版社
48.刘一原,《山水画艺术处理》,武汉,湖北美术出版社,1988。
49.鲁迅,《鲁迅全集》,北京,人民出版社,1996。
50.马采,《哲学与美学文集》,广州,中山大学出版社,1994。
51.米田水译注,《图画见闻志·画继》(中国书画论丛书9),长沙,湖南美术出版社,2000。
52.Thomas Munro,《东洋美学》(Oriental Aesthetics),韩译本。
53.潘立勇,《朱子理学美学》,北京,东方出版社,1999。
54.潘运告编著,《汉魏六朝书画论》(中国书画论丛书1),长沙,湖南美术出版社,1997。
55.潘运告编著,《张怀瓘书论》(中国书画论丛书3),长沙,湖南美术出版社,1997。
56.潘运告编著,《中晚唐五代书论》(中国书画论丛书4),长沙,湖南美术出版社,1997。
57.潘运告编著,《元代书画论》(中国书画论从书12),长沙,湖南美术出版社,2002。
58.祁志祥,《佛教美学》,上海人民出版社。
59.Benjamin Rowland,Jr,《东西美术论》(Art in East and West),韩译本。
60.阮璞,《中国画史论辩》,西安,陕西人民美术出版社,1998。
61.释道济撰,金容沃 译述,《石涛画论——苦瓜和尚画语录》,1996。
62.水采田译著,《宋代书论》(中国书画论丛书8),长沙,湖南美术出版社,1999。
63.Michael Sullivan(迈克尔·苏立文),《中国美术史》(The Arts of China),the University of California Press;Seoul,2000。
64.《外国学者论中国画》,长沙,湖南美术出版社,1986。
65.王克文,《山水画谈》,上海,上海人民美术出版社,1996。
66.王向峰,《中国美学论稿》,中国社会科学院出版社
67.王逊,《中国美术史》,上海,上海人民美术出版社,1997。
68.王国维,《王国维文集》共四卷,北京,中国文史出版社,1997。
69.伍蠡甫,《中国画论研究》,北京,北京大学出版社,1983。
70.伍蠡甫,《名画家论》,上海,东方出版中心,1996。
71.《西洋美术辞典》,台北,雄狮图书股份有限公司,1984。
72.萧元编著,《初唐书论》(中国书画论丛书2),长沙,湖南美术出版社,1997。
73.萧平、刘宇甲,《龚贤》,长春,吉林美术出版社,1997。
74.熊志庭、刘城淮、金五德译注,《宋人画论》(中国书画论丛书10),长沙,湖南美术出版社,2000。
75.徐复观,《中国艺术精神》,沈阳,春风文艺出版社,1987。
76.徐建融,《心境与表现》——中国绘画文化学散论,上海人民美术出版社,1993。
77.许总主编,《理学文艺史纲》,南京,江苏教育出版社,2001。
78.杨恩寰、梅宝树,《艺术学》,北京,人民出版社,2001。
79.杨仁恺主编,《中国书画》(修订本),上海,上海古籍出版社,2001。
80.叶朗,《中国美学史大纲》,上海,上海人民出版社,1999。
81.艺术家工具书编委会主编,《美术大辞典》,台北,艺术家出版社,1981。
82.俞剑华,《中国绘画史》上下,北京,商务印书馆,1998。
83.俞剑华,《中国古代画论类编》上下,北京,人民美术出版社,1998。
84.岳仁译注,《宣和画谱》(中国书画论丛书7),长沙,湖南美术出版社,1999。
85.云告译注,《宋人画评》(中国书画论丛书11),长沙,湖南美术出版社,1999。
86.曾祖荫,《中国佛教与美学》,武汉,华中师范大学出版社
87.蒋孔阳、高若海主编,《中国学术名著提要·艺术卷》,上海,复旦大学出版社,1996。
88.宗白华,《宗白华全集》共四卷,合肥,安徽教育出版社
89.宗白华,《艺境》,合肥,安徽教育出版社,2000。
90.宗白华,《中国美学史论集》,合肥,安徽教育出版社,2000。
91.宗白华,《美学散步》,上海,上海人民出版社,2001。
92.郑午昌,《中国画学全史》,上海,上海古籍出版社,2001。
93.朱伯雄、曹成章 主编,《中国书画名家精品大典》,浙江教育出版社,1998。
94.《古代艺术三百题》,上海古籍出版社,1998。
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97.杨宪金、董天庆 主编,《中国传世书法》,北京,西苑出版社,1999。
98.周积寅,《周积寅美术文集》,南昌,江西美术出版社,1998。
99.周积寅 编著,《中国画论辑要》,南京,江苏美术出版社,1998。
100.朱仁夫,《中国古代书法史》,北京,北京大学出版社,1998。
101.《中国传世花鸟名画全集》,北京,中国戏剧出版社。
1.刘纲纪,《略论唐代佛学与王维诗歌》,语文、情性、义理——中国文学的多层面探讨同际学术会议论文集,台湾大学中国文学系,1996。
2.刘纲纪,《试论中国赏石文化》,《奇石探究》,武汉,花木盆景杂志社,2001。
3.刘纲纪,《龚贤绘画的重要贡献》:贾德江主编,《中同画名家经典画库——龚贤》,石家庄,河北美术出版社,2001。
4.《朵云》3集,上海书画出版社,1982年5月。
5.《朵云》52集,卢辅圣 主编,《中国国研究方法论》,上海,上海书画出版社,2000。
1.鲍桑葵(Bemard Bosanquet),《美学史》,北京,商务印书馆,1997。
2.陈炎,《反理性思潮的反思》,济南,山东大学出版社,2002。
3.Frank P.Chambers,《趣味 历史》(The history of taste:an account of the revolution of art criticism and theory in Europe,New York:Columbia Univ.Press,1932),吴晒南译,Seoul,1995。
4.Donald W.Crawford,《康德美学理论》(Kant's Aesthetic Theory,The Univ.of Wisconsin Press,1974),金文焕译,Seoul,曙光社,1995。
5.George Dickie,《美学入门》(Aesthetics an Introduction,1970),吴昞南译,Seoul,曙光社,1980。
6.E.H.Gombrich,《艺术史》(The Story of Art),Phaidon Press,16ED,1995。
7.格里芬(D.R.Griffin),《后现代精神》(Spirituality and Society:Postmodern Visions);王成兵译,北京,中央编译出版社,1997。
8.Maufis Grosser,《画家的眼》(The Painter's Eye),New York:New American Library [Mentor edition],1956,韩文本。
9.阿诺德·豪泽尔Arnold Hauser,《文学 艺术 社会史》(Sozialgeschichte der Kunst und Literatur,C.H.Beck'sche Verlagsbuchhandlung(Osear Beck),Munchen,1953)古代·中世篇、近世篇上下,现代篇,白乐晴译,Seoul,创作批评社,1997。
10.Karsten Harries,《现代美术的意味:其哲学的解释》(The Meaning of Modern Art:A Philosophical Interpretation,Evanston:Northwestern Univ.Press,1968),吴昞南译,Seoul,曙光社,1988。
11.海德格尔(Martin Heidegger),《艺术作品 根源》(Das Wort,Die Sparche im Gedicht aus "Unterwegs zur Sprache",1960.2.Aufl.,Gunter Neske,Der Ursprung des Kunstwerkes aus "Holzwege",1952,2.Aufl.,Vittorio Klostermann),共译,经文社,1990。
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韩致渊(1765～1814),《海东绎史》。
李仁老(1152～1220),《破闲集》
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金尚宪(1570～1652),《清阴集》。
李穑(1328～1396),《牧隐集》。
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4.成百晓 译注,《论语集注》,传统文化研究会,Seoul,1998。
5.程顾、程颐,《二程遗书》,上海,上海古籍出版社,2000。
6.《二十四史》,中华书局,1997。
7.郭绍虞 主编,《中国历代文论选》共4册,上海,上海古籍出版社,2001。
8.《汉语大词典》,汉语大词典出版社。
9.胡孚琛,《中华道教大辞典》,北京,中国社会科学出版社,1995。
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11.黄宾虹、邓实 编,《美术丛书》,南京,江苏古籍出版社,1997年影印版。
12.黄夏年 主编,《禅宗三百题》,上海古籍出版社,2000。
13.黄夏年 主编,《佛教三百题》,上海古籍出版社,2000。
14.霍松林 主编,《古代文论名篇详注》,上海,上海古籍出版社,2001。
15.来可泓,《大学直解·中庸直解》,上海,复旦大学出版社,1998。
16.黎靖德,《朱子语类》全四册,长沙,岳麓书社,1997。
17.刘勰 著,周振甫 注,《文心雕龙注释》,北京,人民文学出版社,1998。
18.《欧阳修全集》
19.庞朴 主编,《中国儒学》全四册,上海,东方出版中心,1997。
20.[宋]普济,苏渊雷点校,《五灯会元》,北京,中华书局,1997。
21.《苏轼全集》。
22.《唐诗三百首全译》,贵州人民出版社
23.王建 主编,《儒学三百题》,上海古籍出版社,2001。
24.王守仁,《王阳明全集》上下,王守仁,上海古籍出版社,1997。
25.王维,《王维集校注》,北京,中华书局,1997。
26.杨伯峻,《论语译注》,北京,中华书局,1996。
27.杨伯峻 译注,《孟子》,北京,中华书局,1995。
28.张彦远撰、承载译注,《历代名画记全译》,贵州,贵州人民出版社,1999。
29.张载,《张子正蒙》,上海,上海古籍出版社,2000。
30.中国社会科学院文学研究所编,《唐宋词选》,北京,人民文学出版社,2002。
31.周敦颐,《周子通书》,上海,上海古籍出版社,2000。
32.周振甫 译注,《周易译注》,中华书局。
33.《中国文化史三百题》,上海古籍出版社,1998。
34.《简明中国历史地图集》,北京,中国地图出版社,1996。
35.中国孔子基金会编,《中国儒学百科全书》,中国大百科全书出版社,北京,1997。
36.朱熹,《四书章句集注》,中华书局,1996。
37.朱熹,《朱熹集》全十册,成都,四川教育出版社,1996。
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3.北京大学中哲史教研室,《中国哲学史教学资料选辑》上下,中华书局。
4.陈来,《宋明理学》,沈阳,辽宁教育出版社,1995。
5.陈尚胜,《中韩交流三千年》,北京,中华书局,1997。
6.陈少峰,《中国伦理学史》上下,北京大学出版社,1996。
7.陈振,《宋史》,上海人民出版社,2003。
8.陈钟凡,《两宋思想述评》,北京,东方出版社,1996。
9.崔大华,《庄学研究》,北京,人民出版社
10.丁为祥,《虚其相即——张载哲学体系及其定位》,人民出版社,北京,2000。
11.冯友兰,《中国哲学史》上下,上海,华东师范大学出版社,2002。
12.冯友兰,《中国哲学史新篇》共六卷,北京,人民出版社,1995。
13.冯友兰,《中国哲学简史》,北京大学出版社。
14.葛兆光,《中国思想史》(全3册),上海,复旦大学出版社,2002。
15.洪修平、吴永和,《禅学与玄学》,浙江人民出版社。
16.忽滑谷快天(日) 著,朱谦之 译,《韩国禅教史》,北京,中国社会科学出版社,1995。
17.侯外庐、邱汉生、张岂之主编,《宋明理学史》上下,北京,人民出版社,1997。
18.牟宗三,《中国哲学十九讲》,上海,上海古籍出版社,1998。
19.牟宗三,《中西哲学之会通十四讲》,上海,上海古籍出版社,1998。
20.潘富恩、徐洪兴主编,《中国理学》,上海,东方出版中心,2002。
21.钱穆,《朱子学提纲》,北京,三联书店,2002。
22.钱穆,《宋代理学三书随劄》,北京,三联书店,2002。
23.任崇岳,《宋徽宗、宋钦宗》,长春,吉林文史出版社,1996。
24.任继愈,《中国哲学史》共四卷,北京,人民出版社
25.任继愈 主编,《中国道教史》,北京,中国社会科学出版社,2001。
26.《儒教文化研究》,第一集,Seoul,成均馆大学校,2000。
27.M.韦伯(Max Weber),《儒教与道教》(Konfuzianismus und Taoismus),南京,江苏人民出版社,1997。
28.张岱年,《中国哲学大纲》,北京,中国社会科学院出版社。
29.张立文,《朱熹思想研究》(修订本),北京,中国社会科学出版社,2001。
30.朱伯崑,《易学哲学史》共四卷,北京,华夏出版社,1995。
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6.陈衡恪,《中国文人画之研究》,昆明,中华书局,(民国30年)1941。
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11.成复旺,《中国美学范畴辞典》,北京,中国人民大学出版社。
12.成复旺,《中国古代的人学与美学》,北京,中国人民大学出版社。
13.迟轲 主编,《西方美术理论文选》,成都,四川美术出版社,1993。
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18.冯先铭主编,《中国陶瓷》(修订本),上海,上海古籍出版社,2001。
19.[日]冈村繁译注,俞慰刚译,《历代名画记译注》,上海古籍出版社,2002。
20.桂第子译注,《宣和书谱》(中国书画论从书6),长沙,湖南美术出版社,1999。
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24.洪再新 编著,《中国美术史》,杭州,中国美术学院出版社,1998。
25.黄河涛,《禅与中国艺术精神的嬗变》,商务印书馆
26.季伏昆 编著,《中国书论辑要》,南京,江苏美术出版社,2000。
27.蒋孔阳,《蒋孔阳自选集》,重庆出版社,1999。
28.蒋勋,《中国美术史》,北京,三联书店,1993。
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32.李泽厚,《美学三书》(美的历程、华夏美学、美学四讲),合肥,安徽文艺出版社,1999。
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36.[日]笠原仲二著,魏常海译,《古代中国人的美意识》,北京大学出版社
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38.林英芳,《现代美术的理解》,Seoul,Seoul大学出版社。
39.刘纲纪,《书法美学简论》,武汉,湖北教育出版社,1985。
40.刘纲纪,《艺术哲学》,武汉,湖北人民出版社,1986。
41.刘纲纪,《美学与哲学》,武汉,湖北人民出版社,1986。
42.刘纲纪,《周易美学》,长沙,湖南教育出版社,1992。
43.刘纲纪,《书法美》,武汉,湖北教育出版社,1995。
44.刘纲纪,《文征明》,长春,吉林美术出版社,1996。
45.刘纲纪,《美学纲要》,武汉大学,1996。
46.刘纲纪,《传统文化、哲学与美学》,桂林,广西师范大学出版社,1997。
47.刘道广,《中国古代艺术思想史》,上海人民出版社
48.刘一原,《山水画艺术处理》,武汉,湖北美术出版社,1988。
49.鲁迅,《鲁迅全集》,北京,人民出版社,1996。
50.马采,《哲学与美学文集》,广州,中山大学出版社,1994。
51.米田水译注,《图画见闻志·画继》(中国书画论丛书9),长沙,湖南美术出版社,2000。
52.Thomas Munro,《东洋美学》(Oriental Aesthetics),韩译本。
53.潘立勇,《朱子理学美学》,北京,东方出版社,1999。
54.潘运告编著,《汉魏六朝书画论》(中国书画论丛书1),长沙,湖南美术出版社,1997。
55.潘运告编著,《张怀瓘书论》(中国书画论丛书3),长沙,湖南美术出版社,1997。
56.潘运告编著,《中晚唐五代书论》(中国书画论丛书4),长沙,湖南美术出版社,1997。
57.潘运告编著,《元代书画论》(中国书画论从书12),长沙,湖南美术出版社,2002。
58.祁志祥,《佛教美学》,上海人民出版社。
59.Benjamin Rowland,Jr,《东西美术论》(Art in East and West),韩译本。
60.阮璞,《中国画史论辩》,西安,陕西人民美术出版社,1998。
61.释道济撰,金容沃 译述,《石涛画论——苦瓜和尚画语录》,1996。
62.水采田译著,《宋代书论》(中国书画论丛书8),长沙,湖南美术出版社,1999。
63.Michael Sullivan(迈克尔·苏立文),《中国美术史》(The Arts of China),the University of California Press;Seoul,2000。
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65.王克文,《山水画谈》,上海,上海人民美术出版社,1996。
66.王向峰,《中国美学论稿》,中国社会科学院出版社
67.王逊,《中国美术史》,上海,上海人民美术出版社,1997。
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71.《西洋美术辞典》,台北,雄狮图书股份有限公司,1984。
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74.熊志庭、刘城淮、金五德译注,《宋人画论》(中国书画论丛书10),长沙,湖南美术出版社,2000。
75.徐复观,《中国艺术精神》,沈阳,春风文艺出版社,1987。
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77.许总主编,《理学文艺史纲》,南京,江苏教育出版社,2001。
78.杨恩寰、梅宝树,《艺术学》,北京,人民出版社,2001。
79.杨仁恺主编,《中国书画》(修订本),上海,上海古籍出版社,2001。
80.叶朗,《中国美学史大纲》,上海,上海人民出版社,1999。
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