工作坊｜艺术与空间的构建工作坊The Arts and the Construction of Space Workshop

    在东西方哲学对世界的认知中，时空是一个关键词。东西方文化在此问题上有共通点，但也有差异。而在空间概念的建构过程中，艺术扮演了极为重要的角色。总体而言，西方的哲学和自然科学在空间问题上拥有较强的解释力，但随着中国文化越来越多地为世界所理解，中国人独特的宇宙（时空）观，也变得越来越为世人所重视。本次会议的主题就是探讨东西方艺术对各自的空间观所产生的建构作用，或者倒过来，东西方的空间观如何塑造了各自的艺术，从而加深对该议题的认知。

    为此，复旦大学哲学学院艺术哲学研究中心与维也纳大学艺术史系，将于2019年4月11-12日联合举办“艺术与空间的构建”工作坊，以期通过对相关议题的讨论，进一步加强双方的学术合作；并在该议题上做出新的探索。

    In both Eastern and Western philosophies, time and space are key to understanding the world. The two cultures share certain ideas on this issue but also diverge. Art plays a crucial role in constructing the notion of space: in general, Western philosophy and natural science have more say on the problem of space; nevertheless, with increasing understanding of Chinese culture, the unique cosmological (time-space) view of the Chinese gains more and more attention. This conference themes the constructive forces of the respective space-views in Eastern and Western arts; or, reversely, how Eastern and Western space-views respectively shape their arts. As such, the conference will deepen our understanding of this theme.

    To this end, the Center for the Philosophy of Art (School of Philosophy, Fudan University) and the Department of Art History (University of Vienna) will jointly organize “The Arts and the Construction of Space” Workshop on April 11-12, 2019. Through discussions over thematic research topics, the workshop will explore new dimensions thereof and strengthen academic collaborations between the two parties.

与会学者

Participants

论文摘要 

Abstract

The Half-open Door Motif 

– Imaginary Space in Chinese Mortuary Art

虚掩之门——中国墓葬艺术中的虚构空间

Lukas Nickel

（Vienna University）

    Tombs with lavish murals became increasingly widespread in China from the 1st century BC onwards. The paintings usually show scenes set outside the tomb, such as supernatural beings and heavenly constellations, historical events and theatrical scenes, or more general apotropaic or auspicious motifs which are employed to embellish the architecture of the tomb chamber, but also to transcend the boundaries of the narrow space prescribed by the tomb walls itself. The murals add a virtual dimension to the chamber that may extend into the world of the living, the past, or the cosmos. One motif, however, emerges at the end of the 1st century BC that moves beyond the customary presentation and representation of elements of space: Several tomb decorations include painted double-leaf doors that are presented half-opened. The door motif suggests access to an additional space without actually giving an indication of what may lie behind its leaves. It adds a dimension to the decorative program that one may call an ‘imaginary’ or ‘suggested’ space.

    While the identification of the space suggested by the doors has been discussed in research frequently, less attention was given to the visual and empirical implications of the motif itself. The talk will examine the introduction of the door motif into Chinese painting, trace the discourse around the motif and discuss the significance of the double-leaf door in funerary art. 

    自公元前1世纪开始，中国大量出现了伴有奢华壁画的墓葬艺术。这些绘画通常描绘墓葬之外的场景，譬如超自然的生物和天上的星宿，历史事件和戏剧化的场景，或是绘有用于修饰墓室建筑的辟邪或吉祥图案，这些绘画的内容超越了墓墙本身所规定的狭窄空间的界限。壁画为墓室增添了一个虚拟的维度，将其延展到了生活、历史或宇宙世界。然而，在公元前1世纪末出现的一个主题改变了空间元素的惯例表达和再现形式：在一些墓葬装饰中出现了虚掩着的彩绘双扇门。虚掩的主题暗示了一个额外的空间，但并不明示在虚掩之后所可能存在的事物。它为墓葬装饰增加了一个维度，我们可以将其称为“虚构”或“暗示”空间。

    虽然虚掩之门所暗示的空间身份已被广泛研究，但我们较少关注主题本身的视觉和经验性意指。本演讲将考察虚掩主题与中国绘画的联系，追溯主题周围的话语，并讨论双扇门在墓葬艺术中的意义。

统一空间能成为判断山水画风格演化的标准吗？

——对方闻中国书画风格与结构分析的一些评论

Can the Unity of Space be the Criteria of Judging the Evolution of Chinese Landscape Painting? – Some Remarks on Wen Fong’s Stylistic and Structural Analysis of Chinese Painting

沈语冰（复旦大学）

SHEN Yubing（Fudan University）

    受库布勒和罗樾的启发，方闻提出了中国山水画的发展框架并以此为标准对某些无款或伪款的作品进行系年，获得了很大成功。但是，本文发现这一框架存在着诸多疑点：一是对中国山水画的总体演进目标缺少理论说明；二是在某些具体作品的断代或系年中语焉不详；三是在结构分析不敷使用时引进其他参照项。本文提出诗意或抒情传统的过早干预，使得中国山水画没有出现文艺复兴时期的欧洲艺术那样大规模的、系统的知觉和空间探索。方闻在描述晚唐至两宋的山水画风格发展中，曾提出新儒学（理学）作为主要的思想史背景，并把这段时间的山水画之写实精神归于理学的影响。但是，以11世纪中国山水画的核心人物郭熙（约1000-1090年）为例，无论其主导思想还是艺术风格，都不是理学与写实，而是道家与诗意的理想化结合。

   Inspired by George Kubler and Max Roehr, Wen Fong put forward a structural development of Chinese Landscape painting, according to which he successfully attributed some of the most famous non-signed or forged-signed paintings. This paper finds, however, there are some shortcomings in the criteria of judging the evolution of Chinese landscape painting by the unity of space, ie., there is no theoretical explanation of the grand goal of the developments of Chinese landscape paintings; no detailed proof and argument when he attributes some of the paintings; introducing new criteria when he finds it is not sufficient only by structural analysis. This paper suggests that the premature intervention of the poetic or lyric tradition makes the Chinese landscape painting short of large-scale and systematical inquiry of perception and space. Wen Fong suggested that new Confucianism had been the background of Late Tang and Two Songs’ landscape paintings. Taking Guo Xi (c.1000-1090) for example, however, the author argued that not only Guo’s lifestyle but also his art style is of ideal combination of Taoism and poetic tradition, not of the new Confucianism and realism.

平远与林泉——论郭熙山水画作为“世界”的风格

Plain Distance and Establishment of Literary Space in View Painting in the Northern Song

李溪（北京大学）

LI Xi (Peking University)

    在北宋画家郭熙的《林泉高致》中，提出的著名的“三远”，即高远、深远与平远的山水画法则。从《林泉高致》的文本中，“三远”似乎是三个均质的空间观念；如今存世的郭熙最著名的作品《早春图》，亦乃展现出以高远为主，深远、平远为辅的空间面向，因此，一般认为“三远”作为整体皆是山水画空间的核心概念。但是，事实上，从北宋开始，“三远”中的平远，并不单是指涉“空间”的某一个方面，还被表述为具有一种独立的全体意义。它既作为对绘画整体风格而命名了作品，也在事实上成为了李郭风格的代名词。并且，在郭熙同时代的文人中，包括苏轼、苏辙、黄庭坚等人，也最钟情于其平远风格，这些人的题跋对北宋之后郭熙画史地位的奠定起到了至关重要的作用。换言之，原本仅仅是宫廷画师的郭熙，之所谓能够成为文人画的代表人物，正是由于其在平远风格上奠基性，以及同时代的文人对其平远风格的理解。那么，平远是同“高远”、“深远”的区别究竟在哪里？他又为何受到文人如此的青睐？本文将从以下几个方面，尝试说明“平远”如何以及为何成就了中国山水画中的“文人空间意识”。

    一、 从郭熙画论看“平远”在空间观念上同“高远”、“深远”的对比。

    二、 平远、绘画媒材（矮屏风）与身体经验。

    三、庄子哲学与对文人在平远绘画中所营建的“一片江南”。

  In Lin Quan Gao Zhi, the great painter Guo Xi (about 1000_1087 A.D.) in the Northern Song dynasty claimed the theory of “three types of distances”, that is, high distance, deep distance and plain distance. Regardless of the coordination and combination of the three types, clearly shown in the only reliable authentic work by Guo Xi so far, only the plain distance has been titled as the theme of the paintings and widely accepted as the main style of Guo Xi. The first part of the article will make the distinction of the three distances in order to illuminate the idea of the plain distance established by not only the painter but the literati who wrote down their experiences about the paintings. The second part will analyze the material medium of the plain distance——the bed or pillow screen that enable the viewer to place himself/herself in the environments of the painting with casual attitude and perceive the paintings in a close distance. The last part wZill argue that how the plain distance is further coordinated with specific scenic depictions such as trees, water and buildings, which show the Chinese literati’s world affected by Daoist Philosophy.   

“味像”与“游观”

——谈构建文人园林空间与山水画空间的一致性

Savoring Images & Wandering Perspective:

The Consistence between the Space Construction of Literati Garden and the Pictorial Space Construction of Mountains-and-waters Painting.

胡炜（同济大学）

HU Wei (Tongji University)

    文人园林与花园不同，正如文人山水画与风景画不同。对“道”的认识和理解始终是文人自身心性修养的终极目标。所谓“含道映物”、“澄怀味像”是文人将自然之像的观照与日常修道相结合，这决定了文人对自然的关注点往往超越表面的像，努力追求与形而上的“道”的一致。通过“游观”、比德、圣贤典故可视化等艺术的手法去实现“味像”，展现自身所达到的对“道”的认识境界，营造出一座表现内心精神世界的信仰空间。

    Literati garden is different from common garden, as Literati mountains-and-waters painting differs from common landscape painting. It is always the ultimate aim of Literati’s self-cultivation to pursue for comprehension of the Tao. So-called “possessing the Tao, responding to things” and “purifying thoughts, savoring images” reflects that scholars combine their daily cultivation with observing images from the nature. It also results in that Literati’s attention focuses more on the metaphysical Tao than on the physical appearance of the nature. Through the artistic ways, like wandering perspective, analogy between nature images and virtues, images reminding sages and the virtues’ allusions, “purifying thoughts, savoring images” has been achieved. The understanding level of the Tao has been displayed. At the same time, the sacred space of inner spiritual world has been constructed.  

从科学家的视角看空间

A Scientist's Perspective of Space

金晓峰（复旦大学）

JIN Xiaofeng (Fudan University)

    “空间是什么？一个空的舞台，让物质实体世界上演它的戏剧？一个平等的参与者，既扮演背景，又有自己的生命？还是原初的现实，而物质相对只是第二层次的表现形式？对于这个问题的观点在科学史中发生了数次演化和激变，当今是第三种观点占据了主流地位。”

     “What is space? An empty stage, where the physical world of matter acts out its drama? An equal participant, that both provides background and has a life of its own? Or the primary reality, of which matter is a secondary manifestation? Views on this question have evolved, and several times changed radically, over the history of science. Today, the third view is triumphant.”

The Construction of Perspectival space and the Composition of Pictorial Surface.

An Eye Tracking Study

视角空间的构建与图画表面的构成

一份眼动追踪研究

Raphael Rosenberg

（University of Vienna）

    The invention of perspective, the geometrically constructed systematic representation of space, is often regarded as a major achievement of the Italian Renaissance Art and more generally of Western Early Modern culture. Until now and far beyond its hometown of Florence, perspective has become the most common form of representation in artistic, popular, and technical pictures, including photography.

    However, in regard to aesthetic, perspective has a shadow side: it imposes severe limitations in the design of a surface composition. The more precisely the artist adheres to the geometric rules of the spatial construction, the more difficult it becomes to design the surface of pictures, in order to achieve a convincing narrative and a pleasing composition.

    The lecture begins by discussing this shadow side of perspective, using the example of some drawings by Jacopo Bellini. I will then present preliminary results of an eye tracking study in which we show 14 representations of Christ’s Last Supper. They range from the 12th to the late 16th century—before and after the invention of perspective—and have different degrees of spatial depths. All of them represent Christ in the circle of his apostles, but the placement of the figures varies a lot. We analyze the eye movement of c. 30 participants, in order to detect how the differences in space representation and surface composition affect the viewer: to what extent is the eye, i.e. the attention of the observer, attracted by the composition of the surface and/or by the represented space?

    This study is conducted with two of my PhD students: Zoya Dare and Rosa Sancarlo.

    透视的发明，几何构造式的空间系统表现，往往被视为意大利文艺复兴时期艺术的一项重大成就，更普遍地说，西方早期现代文化的重大成就。直到现在，远远超出其家乡佛罗伦萨，透视法已成为艺术、流行文化和技术图片（包括摄影）中最常见的表现形式。

    然而，就美学而言，透视具有不完美的一面：它为对表面组合的设计施加了严格的限制。艺术家越是精确地遵循空间结构的几何规则，要设计出令人信服的描述和令人愉悦的构图就越困难。

    讲座首先讨论透视的阴影面，以雅各布·贝利尼的一些素描为例。然后，我将展示一项眼动追踪研究的初步结果，其中我们展示了“基督最后的晚餐”的14种表现形式，从12世纪到16世纪末——在透视发明之前和之后——并且具有不同程度的空间深度。所有这些作品中基督都由他的使徒围绕着，但人物位置多变。我们分析了约30位参与者的眼球活动，以便检测空间表现和表面构图的差异会如何影响观察者：即观察者的眼睛，如注意力，在何种程度上会被表面的组成抑或表现空间所吸引？

    这项研究是与我的两位博士生一起进行的：Zoya Dare和Rosa Sancarlo。

Trecento Challenges to a Spatial Concept of Art

十四世纪文艺复兴艺术对空间概念的挑战

Christopher S. Wood (New York University)

伍克礼（纽约大学）

    Once, artistic beauty was understood as the reproduction of cosmic order within a merely experienced mundane reality. That project sustained a topological or territorialized concept of sacred art, whereby the sacred was mapped onto “good form” and the profane onto “bad form.”

    Realist painting of the fourteenth century challenged this system. As if revisiting Christianity’s primordial decision in favor of an exoteric, rather than esoteric, identity, the Italian painters of the fourteenth century populated Christian subjects and scenes with semi-outsiders: watchers and doubters, anachronistic visitants, sponsors and supplicants clerical and lay. Pressure on narrative from the outside altered the topology of the artwork.

    曾经，艺术之美被认为是在世俗的现世体验之中宇宙秩序的再现。那种投射延续的是宗教艺术中的拓扑或地域化概念，在宗教艺术中，神圣的被体现为“良好的形式”，而亵渎则被体现为“糟糕的形式”。

    14世纪的现实主义绘画挑战了这一体系。14世纪的意大利画家世俗化了基督教的主题和场景，加入了各种半局外人的参与，如观察者和怀疑者、不合时宜的访客、赞助人、祷告者、牧师及门外汉，就好像从一种外界的而非教内的身份，重访基督教义中那些原初的决定。来自外部的叙事压力改变了艺术作品的拓扑结构。

Epistemology of Failure:

Rationality and Contingency in the etchings of Hercules Segers

关于失败的认识论

赫拉克勒斯·塞格斯版画中的合理性和偶然性

Sebastian Egenhofer

（University of Vienna）

    The lecture explores the spatial organization of Hercules Segers’ view etchings and relates it to the political, geographical and economic space of its time, the Dutch Golden Age. The polarity of the perspectival construction of a measurable pictorial space and its destabilization by the contingency of the etchings' production process will thus be interpreted in light of the development of the early capitalist Netherlands in the 17th century.

    讲座探讨了赫拉克勒斯·塞格斯的风景蚀刻画的空间组织，并将其与荷兰黄金时代的政治、地理和经济空间联系起来。17世纪的荷兰早期资本主义发展背景，将有助于解释可测图形空间的透视结构的倾向，及其因蚀刻制作过程的偶然性而造成的不稳定性。

Aesthetics and Authority in Architectural Space:

Floors Like Water in Early Islamic Palaces

建筑空间的美学与权威：

早期伊斯兰宫殿中如水的地板

Markus Ritter

 (University of Vienna)

    The use of glass floors in 9th-century palaces of the Arab princes and caliphs of the Abbasid empire centered in Mesopotamia has remained almost unknown. The floor created a specific aesthetic of a shimmering transparent surface in watery green and blue colors showing drops and lines, and resonating with the impression of water or a water pool. Remains have been excavated in Raqqa and can be compared to fragments found in other places in Syria and Iraq, but were never been properly discussed.

    The talk seeks to reconstruct, position, and interpret the aesthetics and semantics of such a floor. While the spectacular appearance fits a period in Islamic art history known for the innovative use of ceramics and glass in architectural decoration, I will discuss how to understand it from the official function of a palace. The glass floor highlighted a specific space in the sequence of ceremonial rooms, designed to impress and overpower the visitor. Moreover it resonated with the floor of  ‘glass like water,’ which in the Qur’an characterizes the palace of king Solomon, the Arab and Islamic archetype of the powerful ruler.

    The significance of this theme in palace architecture, conveying beauty and authority, may have been much wider, beyond the use of glass in a floor. Just as the Qur’anic passage acquires a range of interpretation in texts that comment, explain and embellish it, so the Solomonic floor like water may have been translated into various materials and spaces in Islamic palaces.

    在公元9世纪以美索不达米亚为中心的阿拔斯王朝的阿拉伯王子和大臣们的宫殿中对玻璃地板的应用，几乎不为人知。地板创造了一种特殊的审美，如水的绿色和蓝色构成的水滴和线条，在清亮透明的地面上，呼应着水或水池的印象。这样一处古迹已经在拉卡（叙利亚城市）出土，可以与在叙利亚和伊拉克其他地方发现的碎片进行比较，但还未得到充足的讨论。

    我的演讲旨在重建、定位和解释这样一种地板的美学和语义。虽然这奇景的确对应着伊斯兰艺术史上以陶瓷和玻璃在建筑装饰中的创新使用而闻名的时期，但我将讨论如何理解宫殿的正式功能。玻璃地板突出了礼仪房间序列之中的一块特定空间，旨在给拜访者强大的震撼。除此之外，它还呼应着古兰经中的所罗门王（在阿拉伯和伊斯兰文化中的强大统治者原型）的宫殿中“如水的玻璃”地板。

    传达美和权威感，这个主题在宫殿建筑中的意义可能远远超出了玻璃在地板中的实用性。就像古兰经文获得了广泛的评论、解释和修饰文本那样，如水的所罗门王地板可能已被转译到了伊斯兰宫殿中的各种材料和空间。

气氛与空间：一个现象学的解读

Atmosphere and Space：a Phenomenological Approach

杨光（同济大学）

YANG Guang (Tongji University)

    艺术作品中的气氛是一个空间现象，而空间在西方传统的本体论意义上是很难界定的。本文将从空间布局的角度来描述一些艺术作品中的气氛现象，包括特纳、莫奈的作品，和一些中国山水画以及当代抽象艺术绘画。本文将以西方哲学传统中的空间概念为背景，然后从现象学的角度来讨论一种不是基于透视法的空间构造。 这种气氛性的空间是非维度性的，不是以物的位置 (topos) 为指向的，而且是动态的、呼吸性的。

    Atmosphere plays a significant role in art, and it is often regarded as a spatial phenomenon, whose ontological status is hard to determine. In my talk I will seek to describe phenomenologically atmosphere from the perspective of the concrete laying-out of space in both Western and Chinese paintings. Works by Turner, Monet, and some Chinese artists will be discussed in order to demonstrate a kind of spatiality which is not grounded in Western perspectivism. Furthermore, I will contrast the atmospheric space in art with the geometrical and dimensional space in the Western tradition and thereby highlight the elemental and fluid character of atmospheric space.

从棋理看画理

Significance of Analogy-Drawing Between Go and Painting

高建平（中国社会科学院）

GAO Jianping（Chinese Academy of Social Sciences）

    本文用试图从中国绘画与围棋的关系来说明中国绘画思想及其与西方绘画的区别。许多古代中国人都用围棋来比喻画。从而论证，作画像围棋那样，需要得势，说明作画要有一种从动态发展的角度理解的大局观之外，又特别指出，要有对手意识。作画虽然是画家独自行为，但必须像下棋一样，有对手意识存在。这就像是与人对垒，一着失当，就会导致失败。对手意识同时也是顺序意识。下棋分布局、中盘和收官，绘画也是这样，不是在画幅上一块一块地画，而是一层一层地画，先布局以定位置，再中局画出实形，最后收拾以处理细部。最后，绘画还要讲虚实相生，这与围棋的死活是一致的。

    这里所说的大局观，并不直接等同于对绘画结构的总体安排。绘画结构的安排，有可能是静态的，即将所画物像在画中实现一种对称或平衡。鲁道夫·阿恩海姆 (Rudolf Arnheim) 在《艺术与视知觉》 (Art and Visual Perception) 一书中，对物像在绘画中的安排予以高度重视。但他所重视的是绘画的整体性，即绘画中各要素的安排，以及这种安排对人的心理所产生的影响。至于这样的图形是怎样制作出来，制作过程与观察者的心理有什么关系，则不在考虑之列。恩斯特·冈布里奇把制作问题纳入到他的视野之中，提出了“作” (making) 和“配”(matching) 的二步公式。艺术家在作画之前，有一种主观的图式。通过将这种图式与现实相匹配，利用视觉印象来修正图式，最终达到真实的再现。冈布里奇讲“作”与“配”，更多的是从艺术风格史的角度而言的。在实际的绘画制作过程中，呈现出多种多样的特征。有从图式出发，也有从痕迹的模仿出发。这两位研究者虽然都讲大的配置，讲绘画的总体安排，但他们都跨越了实际的绘画制作程序，而直接讨论艺术心理问题。具体说来，阿恩海姆是以简单图形为起点，论述视觉心理，而冈布里奇则是以历史上艺术风格的变迁为依据，来说明艺术是怎样实现现实的复制的。

    围棋是一种游戏，有着游戏的种种规则，对所有的“形”、“势”，以及任何对这个游戏的术语的理解，都建筑在这些规则之上。面对一副由纵横各十九条线构成的棋盘，没有什么棋手会心存摆成某种形状的目的。棋手们也讲棋形的好坏，下出某种形的棋就舒服，某种形就不舒服，某种形是好形，有味道，舒展，某种形是愚形。在围棋中，还有一些人被称为围棋美学家，他们下出的棋，有一种对形之美的追求。但他们对棋形的感觉与日常生活中的形像没有任何关系，这是一种先建立在围棋规则，再建立在围棋棋理之上的对形的认识。对围棋的形的好坏决非根据由日常生活所确立的对形像的价值感来作评价，而是在对弈中积累起来的对棋子形状的张力的感觉。

    将作画与下棋相比拟，是为了强调一种与西方画家完全不同的关于绘画的审美理想。这种审美理想的建立，首先就是从对形的认识开始。当我们说绘画要“存形”之时，我们说的只是所画之物的形状。上面说到的种种绘画方法，都是为捕捉这种物之形而设。从总体上说，这些“存形”之法只是一个古老而影响巨大的理论——“摹仿说”的延伸或变形而已。通过与围棋作比拟来探讨形，则引入了一种对画理之内的形的认识。这超越了与外在自然物的形的视觉对应关系，而进入到从画本身，尤其是动态的作画过程来理解形的层面。以棋喻画，还将画与纯粹的自我表现区分了开来。绘画理论中有许多关于自我表现的论述。以棋喻画，则完全从另一个角度来接近的我们所面临的问题。以棋喻画，表明艺术创作过程像下棋一样，要不断根据当下局势，根据已有问题提出对策。这实际上就形成一个“问题→解决→新问题→再解决”的链，其间环环相接。以棋喻画的另一种重要含义是对手意识以及由此而来的顺序观、阶段论，以及空灵的意识等。

    总之，以棋喻画，用棋理比拟画理，可以将艺术家领入一个新境界，形成一种新的艺术观；同样，从棋理看画理，也可以给研究中国绘画的人，给试图比较中西绘画，比较中西美学的人提供一把钥匙。

    In this essay the author has explored the aesthetic implications of analogy-drawing between go and painting. It was argued by many ancient Chinese people that, painting was similar to go, the most important was to acquire shi, a special Chinese word that has several meanings, such as momentum, initiative, or situation. By getting shi, one can achieve a “vivid and dynamic atmosphere.” To make painting, one should to have an opponent in mind, though he or she was making it alone. Such a sense of an opponent also means a sense of order or sequence. A correct order of laying stones will make sure of a victory, while the wrong order results in giving an opponent the opportunity to race for the strategic points. A comparison with the go implies that it also needs an order to make a good painting.

    A painter is supposed to make every new stroke in accordance with the situation he is in. When he is painting, there is, of course, no opponent sitting on the other side of the paper or silk and working on the same picture with him. And yet a Chinese painter should always keep a sense of competition in mind. As a stone is to be laid on the grid, every stroke is to be made at the right place and time, following the inclination of the preceding strokes and preparing for the strokes to come, striving to take the initiative. To make a stroke is always a choice, which is decided or influenced by the size and shape of the paper, the motif and purpose of painting, and above all by the strokes which have already been made on the paper and thus have formed the general situation and momentum. Stroke making is, therefore, like a stone laid in go playing in that it is a reaction or a counter-measure to the situation. Every new stroke is a creative reaction to the present situation, as well as guided by the strategy of the painter.

    Some Chinese art critics prefer to differentiate traditional Chinese art from its Western counterpart by arguing that the former is expressive while the latter is imitative. If we summarize the main features of art in China and Europe, we may find that the subjective currents in art indeed appeared much earlier in China (in painting criticism, the tenth century, but much earlier in poetics) than in the West, where art theories and criticism were mainly under the influence of imitation theories until the appearance of the Romanism and Idealism in the 19th century. The expression theories were elaborated as independent aesthetic theories as late as the turn of the 19th and 20th centuries by the works of Benedetto Croce and R. G. Collingwood.

    During the process of making a painting, a painter enters into a mental state as playing a game. In such a state, one does not think about one’s own emotion and endeavors to demonstrate it, or to think about the responses of his audience. A player of go concentrates on the competition itself rather than his or her own feeling or that of the audience, and so does a painter in making a painting. The process of making a painting is a series of free movements of a painter’s mind and body. If one maintains that it is still a kind of expression theory, then what is stressed is neither the beginning (the emotion to be expressed) nor the end (the audience’s emotional response), but the middle, which consists of a series of actions accomplished in a particular mental state.

 东西与左右——赵孟頫《鹊华秋色图》方位错误之解读

The East-West and the Right-Left:

An Interpretation of the Misdirection in Zhao Mengfu’s

The Autumn on the Que and Hua Mountains

彭锋（北京大学）

PENG Feng（Peking University）

    赵孟頫的《鹊华秋色图》是山水画中少有的实景山水，画的是山东济南的风景，以鹊山和华不注山为主题。赵孟頫在题款中鹊山在东，华山在西。但是，实际方位是鹊山在西，华山在东。历代鉴藏家对于这个错误都讳莫如深，他们要么没有发现这个错误，要么不重视这个错误。直到乾隆将画与实景对照才发现并指出这个错误。赵孟頫的这个错误是偶然为之，还是另有深意？本文将分析造成这种错误的诸种原因，并指明中国绘画中的两种空间观：看见的空间与建构的空间。

    Chinese mountain-water painting seldom takes real view as its subject, but Zhao Mengfu’s The Autumn on the Que and Hua Mountains is one of the few. The subject of the painting is the view of Jinan, the capital of Shandong province today, and especially the Que and Hua mountains are taken as the motif of the painting. Everything was perfectly depicted except for one mistake that the painter made in his comments on the painting: the directions of the two mountains were reversed. It was not until emperor Qianlong emperor pointed out this mistake that generations of connoisseurs and collectors of this painting kept it secret. Why did Zhao make this mistake? This paper will explore the causes of this mistake and finally indicates that there two spaces intertwined in Chinese painting: the space seen and the space imagined.    

中国书法中的空间生成机制

The Mechanism of Constructing Space in Chinese Calligraphy

邱振中（中央美术学院）

QIU Zhenzhong (Central Academy of Fine Arts)

    中国书法中包含两类空间：1、由于毛笔在线条内部进行的三维运动而生成的（由线条的外廓变化所暗示的）三维空间；2、以特殊方式展开的二维空间。两类空间都与时间的流动紧紧结合在一起。

    第一类空间为中国毛笔书写所特有，在几千年的时间里，它积累了丰富的技巧和范例，积累了极为复杂的线条内部变化的形式，这使得中国书法成为世界上变化最丰富的徒手线的集合，成为表达复杂精神生活得心应手的艺术形式。

    第二类空间在汉字的早期书写与狂草中得到生动的展示，它指的是每一笔画、每一线段的书写都取决于已经完成的结构，这样形成的空间是一个随机的、生长的空间的组合。这使得书法在空间性质上不同于其他各种视觉图形。它影响到中国绘画等多种艺术的深层性质。

    There are two types of space in Chinese calligraphy: one generated by the motion of the brush, suggested by the changing shape/contour of the line; the other one is a two-dimensional space developed in a special way. Both types of space are tightly related to the flow of time.

    The first type of space is unique to Chinese calligraphy. Over thousands of years, it has accumulated a wealth of skills and models, culminated in extremely complex forms of internal changes of lines, making Chinese calligraphy a collection of the most varied freehand lines and an art form more than capable of expressing the sophisticated spiritual life.

    The second type of space is vividly displayed in the early writing tradition and the wild cursive style. In this type of space, each stroke, the writing of each line segment, depends on the structure that has been completed. Thus, such space is a combination of random, growing space.  It makes the calligraphy space different from the other visual graphics in nature. It has influenced the innate characters of various art forms including the Chinese painting.

 传统园林的框景、观看与空间

Frame View, Vision and Space of Traditional Garden

周宏俊（同济大学）

ZHOU Hongjun (Tongji University)

    框景，即通过如门户窗洞等特定的视线或空间限定观看景物，是中国传统园林尤其江南园林的典型手法。在现存的苏州园林中，框景包含了多种形式，构成了丰富的空间与景观；并且框景在园林文献中早有更为多样化的体现，从中可以提炼出“如画”与“身体”两个要点；同时框景也是传统观法中以小观大的重要体现，是园林空间的重要组织手段。结合绘画的空间特点，再回到园林实例中加以分析，可以看到：传统园林中正是基于山径般曲折的路径，组织包括框景在内的多种对景关系，取得“如入山阴道”的景观与空间效果。框景及其所构成的关系意味着绘画式的观照方式，表征了传统的空间意识与审美。

    View framing, is the technique of shaping the view by architectural devices such as the door and the window. It is a typical method common to traditional Chinese gardens, especially in the regions south of the Yangtze River. In the existing Suzhou gardens, view framing has a variety of forms, constituting a rich space and view. It has even more diverse appearances in previous gardening literature, from which we can elicit two points: “picturesque” and “body”. At the same time, view framing is an embodiment of the traditional philosophy of achieving a macro understanding from a micro perspective. Combining the spatial character of Chinese painting and the real case of gardening, we can see that the traditional garden is based on the imitation of mountain path to organize a variety of landscape relationships including the view framing, and has achieved a spatial effect like "entering the mountain path surrounded by greenery”. The framed view and the spatial relationships it constructs indicates the similar vision of painting and represents the traditional spatial consciousness and sense of aesthetics.

How to Enter Image-space

如何进入图像空间

Wolfram Pichler

(University of Vienna)

    My talk will be a contribution to the theory of images, a field of research situated at the common border of art history and philosophy. I shall ask very general questions about pictorial space or ?image-space‘, as I call it, and discuss two rivalling theories: Kendall Walton’s theory of? perceptual games of make-believe‘ on the one hand, Lambert Wiesing’s theory of? spaces free of physics‘ on the other. The first denies the existence of image-spaces and explains our talking about them in terms of fictionality, while the latter tries to rescue them by inventing a new concept. Using examples from everyday life as well as from art, I will explain why, on a systematic level, I clearly favour the former theory, while, historically, I nevertheless remain interested in the latter. The terminological and conceptual basis of my argument will be provided by a general theory of images which has been developed by Ralph Ubl (University of Basel) and myself.

    我的演讲希望能对图像理论有所贡献，这个研究领域位于艺术史和哲学共同的边界上。我提出的是关于图画空间或图像空间（如我所称）的一般性问题，并讨论两种可以匹敌的理论：一边是肯德·瓦尔顿的理论，“扮假作真的知觉游戏”，另一边是兰伯特·维兴的理论，不遵循物理学的空间。第一个否认图像空间的存在，并从虚构性的角度解释了我们对图像空间的讨论，而后者试图发明新的概念以解放它们。使用日常生活和艺术中的例子，我将解释为什么在系统性的层面上，我明显偏爱前一种理论，但在历史的层面上，我仍然对后者感兴趣。我的论证的术语和概念基础出自拉尔夫·乌布（巴塞尔大学）和我自己发展的一般图像理论。

视看与绘画中的空间性

Vision and the Spatiality in Painting

宁晓萌（北京大学）

NING Xiaomeng (Peking University)

    在一般的理解上，“看”总是意味着一个主体对对象的观看。梅洛-庞蒂的现象学始终致力于对“什么是看”的追问，将“看”的活动解释为主体与世界间的一种存在论联系。在其后期的研究中，梅洛庞蒂更是将“看”解释为目光间的交织，从而使看的活动脱离了传统的主客二分式的解释，而成为对一种共同落入视看中去的各种存在联系的揭示。基于这种存在论的理解，绘画中的空间表现也不再被简单地理解为对一个外在客观世界的摹仿。绘画自身的空间建构不单纯以几何学的或物理学的空间理论为依据。每一个画家都有属于他自己的绘画语言。绘画的空间在画家和观者的目光中自行建立。

    In his lifelong questioning of the meaning of seeing, Merleau-Ponty brought an ontological interpretation of seeing. For him, the activity of seeing reveals an incarnate subject’s ontological connection with his world, rather than a merely epistemological knowing of an object. Furthermore, in his later studies, when the priority of the subject is more weakened, seeing is considered as an intertwining of the sights (between I and others, as well as between I and the other things), which precisely reveals a mutual horizon (Vision) for the visible and the invisible, and exemplifies the basic structure of the ontology of chiasm. Thus, being released from the traditional interpretation of the dichotomy of subject and object, the activity of seeing is no longer deemed as a passive (or receptive) activity which functions as learning or copying from a prototype (of an object), but rather, it becomes a power of constitution. And the spatial representation in painting is therefore no longer a simple imitation of an external objective world. The spatial dimension in painting is not merely based on the theory of space in geometry or physics. Every painter has his own painting language. The space of painting gets its own building through the painter’s and the beholders’ eyes.

About the Order of the World

关于世界的秩序

Lioba Theis

（Vienna University）

    With the Christianization in Late Antiquity (4th-6th century CE) a new perception of the world developed which clearly differed from the concept of the world in Greek antiquity. In this contribution will be examined, how this change is justified and what effect it had on art and society of the Byzantine Empire in the Middle Ages (9th - 14th century CE).

    欧洲近古时期（4-6世纪）的基督教化促生了观察世界的新视角，与古代希腊的观念有显著的不同。此文将研究这一变化的定义，及其对中世纪的拜占庭帝国（9-14世纪）的艺术与社会的影响。

节奏化的空间：宗白华中国艺术时空观探微

Rhythmical Space:

Zong Baihua on Space-Time in Chinese Arts

陈佳（复旦大学）

CHEN Jia (Fudan University)

    就对中国传统艺术空间、及其文化精神的揭示的深刻而言，在现代美学、艺术理论家中，很少有人能超出宗白华（1897-1986）。他在《美学散步》的多篇文章中，立足于对中国艺术神髓和意蕴的深度认识和发掘，借助于对中西艺术中空间意识的对比，提出了中国的艺术空间是“时间率领着空间”、“节奏化、音乐化了的‘时空合一体’”。

    本文通过介绍宗白华的中国艺术时空观，旨在探究中国传统思想中时空的交错，如何给中华民族提供了稳定的世界观，进而决定了他们对自然世界的审美认知、对艺术表现的形式创造、及对生命创造的自我发现。

论文拟从三方面展开论述：

    1、“以时率空”的宇宙经验

    宗白华主张四时之序的历律哲学，是时空合一的“具体的全景”。其中“时”和“动”居于领导地位，时间的创造性的节奏和成果，体现了“无往不复、天地际也”的自然宇宙经验。最突出的表现是《易经》对“动、变”的强调，把“生生不已的阴阳二气织成一种有节奏的生命”看作宇宙本体。

    2、以“舞”贯通的艺术形式

    宗白华用“舞”来概括中国艺术中的“节奏化的空间”。从音乐的韵律、到书法的线条、再到绘画的阴阳明暗，都表达着高度的节奏、秩序、理性，同时也表达了“最高度的生命、旋动、力、热情。”中国艺术的这一空间，是通过审美体验获得的，不同于用几何、三角测算出来的科学的、透视学的空间。

    3、以“生”创化的生命韵律

    宗白华强调，艺术空间最终还是离不开人生现实世界：现实世界既是它能动的基础，又是它的对象。“节奏化的”艺术空间，把宇宙创化之动力，转化为了人生创造之动力。艺术家正是在这虚灵而又充实的艺术空间，达到了美的理想和生命的最高成就。

    As far as the profound revelation of the construction of space in Chinese traditional arts and its underlying cultural spirit is concerned, few of the modern aestheticians and art theorists can surpass Zong Baihua (1897-1986), the 20th century Chinese philosopher, aesthetician and poet. In his representative work Peripatetic Aesthetics, Zong Baihua took his firm stand in the deep understanding and exploration of the essence and implication of Chinese art. By comparing the space-consciousness between Chinese and Western art, he argued that Chinese art space is "time-leading space", "rhythmical and musical integration of space-time".

    By introducing Zong Baihua's view of space-time in Chinese art, this paper aims to explore the intersection of time and space in Chinese traditional thought, inquiring how this interwoven relation provides the Chinese with a stable worldview which eventually determines their aesthetic perception of the natural world, their creation of artistic forms, and their self-discovery of life creation.

    The paper will be centered on three aspects:

    1. "Time-Leading Space": The Experience of Cosmos

    Zong Baihua argued that the ancient Chinese philosophy of calendar formulates the correlation between the order of four seasons and musical temperaments, which can be read as the "concrete panorama" of the unity of space-time. Within this panorama, "time" with its "dynamic” feature takes the leading position since the creative rhythm and achievements of time reflect the natural cosmic experience of "No departure without return.” The most prominent manifestation of this can be found in the Book of Changes where "movement and change" are highlighted. Also, it reads "the endless Yin and Yang as woven into a rhythmic life." 

    2. A Shared “Dancing” Feature in Various Art Forms

    Zong Baihua used "dancing" to characterize the "rhythmical space" in Chinese art. From the harmonious melody of music, to the flying lines of calligraphy, and then to the varying lights and shades of painting, all these art forms expressed not only a high degree of rhythm, order, rationality, but also "the highest degree of life, rotation, strength as well as enthusiasm." This unique “rhythmical space” in Chinese art is constructed through these rich and vivid aesthetic experience, which is different from the scientific and perspectival space calculated by geometry and trigonometry.

    3. The Rhythm of Life Achieved by Creation

    Zong Baihua emphasized that art space cannot eventually be separated from the real world of human life: the real world is not only the basis of its dynamic strength, but also its intentional object. The "rhythmical" art space transforms the motive force of cosmic creation into the motive force of life creation. It is in this virtual and full artistic space that artists achieve the ideal of beauty and the highest achievement of life.

艺术崇高的欣赏：从康德美学的视角

A Kantian Approach to Appreciation of Artistic Sublimity

王维嘉（复旦大学）

WANG Weijia (Fudan University)

    根据康德的《判断力批判》：在感性估量中，我们的想象力既要逐步再生对象的各个部分，又要同时将它们统一；这两种时间性必然让想象力经受张力。当这一张力变得太强、使得想象力无法继续前进，其情感就是绝对大的（即崇高的）、并有益于道德教化。以康德理论为视角，我们能更全面和深入地欣赏崇高的艺术，诸如罗马的圣彼得大教堂和戈雅“黑色绘画”中的《巨人》。

    According to Kant’s Critique of the Power of Judgment, in aesthetic estimation, our imagination is to reproduce a magnitude’s parts successively and unify them simultaneously, such that the imagination undergoes an inevitable tension between two time-conditions. When the tension becomes too great and hinders the imagination’s further achievement, the feeling of this tension is absolutely great (i.e., sublime) and conducive to moral cultivation. Kant’s theory sheds light on our experiences of the sublime in art works such as St. Peter's Basilica in Rome and El Coloso in Goya’s Pinturas Negras.