以天人合一為基礎(chǔ)的感物美學(xué)意蘊(yùn)

The Aesthetic Implications of?

the Oneness of?Heaven and

Humanity as a Foundation for

Sensory Experience

在道家哲學(xué)中，人與自然是一個(gè)有機(jī)的整體，其核心思想是天人合一。道家的“自然”不是僅僅指自然界，而是一個(gè)天地萬物生靈渾然一體的存在。這意味著萬物同根同源，皆有靈性，人立于天地之間，能與萬物交相感應(yīng)，在這個(gè)過程中物使人的情志生發(fā)，從而產(chǎn)生不同的審美體驗(yàn)，而人的情志同樣能影響物的狀態(tài)。對(duì)于道家而言，感物的最高境界是“致虛極，守靜篤”（《道德經(jīng)》第十六章），是對(duì)精神自由的至高追求。

In Taoist philosophy, man and nature are an organic whole, with its core idea of the oneness of heaven and humanity. “Nature” in Taoism not only refers to the natural world, but encompasses all things in the universe, including living beings. This means that all things share the same origin and possess spirituality. Humans stand between heaven and earth, and can interact with all things, which in turn can stimulate their emotions and lead to different aesthetic experiences. For Taoists, the highest level of sensory experience is “zhixu ji, shoujing du?致虛極，守靜篤” [Achieve the utmost in emptiness and hold steadfast in quietude]. This is the ultimate pursuit of spiritual freedom.

宋陳，行走的山水系列，

泥土綜合裝置，

220×130×120cm，2019

Song Chen,?Walking Landscape,

Integrated Soil Installation,?

220×130×120 cm, 2019

“泥土是構(gòu)成這個(gè)世界最基本的物質(zhì)，泥土孕育了自然萬物，它意味著能量與神性的合一?！? ? ?——宋陳

“Soil is the most fundamental material constituting this world, and it nurtures all things in nature. It signifies the unity of energy and divinity.”? ? ? ? ?—Song Chen

《行走的山水》以土壤為質(zhì)料，將山水、樹木、園林和身體融合在一起，體現(xiàn)出一種物我相融的哲思，身體的上半部分被山水所代替，或許也意味著一種忘我的境界。當(dāng)藝術(shù)品被安放在不同的時(shí)空并被記錄下來，由于某種類似于蒙太奇的效應(yīng)，藝術(shù)品仿佛行走于天地之間，但其本身又是靜態(tài)的物，由此產(chǎn)生一種動(dòng)靜結(jié)合，“萬物負(fù)陰而抱陽，沖氣以為和”的生態(tài)美學(xué)意蘊(yùn)。物的情志在這里被巧妙的展現(xiàn)出來。

Walking Landscape?uses soil as its material to integrate mountains, rivers, trees, gardens, and the body, embodying a philosophical concept of the integration of self and nature. The upper part of the body is replaced by the landscape, perhaps implying a state of selflessness. The upper half of the body is replaced by landscape, perhaps implying a state operhaps implying a state of selflessness. As this artwork is archived in various spaces at different times, a montage-like effect creates the illusion of this artwork walking between heaven and earth. It remains yet a static object, producing an ecological aesthetic of the combining movement and stillness, “wanwu fu yin er bao yang, chong qi yi wei he?萬物負(fù)陰而抱陽，沖氣以為和” [All things bear shade on their backs and the sun in their arms; By the blending of breath from the sun and shade, equilibrium comes to the world] The emotional state of an object is cleverly demonstrated in this artwork.

宋陳，大地之子，

泥土混合裝置，

直徑430cm，2019

Song Chen,?Son of the Earth,?

Soil mixed installation,?

Diameter 430 cm, 2019

宋陳的另一裝置藝術(shù)作品《大地之子》同樣表達(dá)了人與天地合一的思想。物的情志經(jīng)由創(chuàng)作者之手，變得具象，泥塑的大地之子模糊了人與植物的邊界，仿佛扎根于宇宙之中，像嬰孩臥于母親的子宮之中，展現(xiàn)出人與自然的共生關(guān)系，同時(shí)有著道家所說的“復(fù)歸于嬰孩”的意蘊(yùn)。

Another installation artwork by Song Chen,?Son of the Earth, also expresses the idea of the oneness of heaven and humanity. The emotional state of the object, through the hands of the creator, becomes concrete. The earthy “Son of the Earth” blurs boundary between human and plant, as if rooted in the universe, like a baby lying in its mother’s womb, demonstrating a symbiotic relationship between human and nature, conveying the meaning of “fu gui yu yinghai?復(fù)歸于嬰孩” [To be a simple child again] as described in Taoism.

道的樸素美——返璞歸真

The Simple Beauty of Taoism –?

Return to Nature

多年來，宋陳一直以“土”為“語”，用最樸素的質(zhì)料喚醒人們對(duì)大地的敬畏以及對(duì)本源的回溯。我們總能在宋陳的作品中看到一種混沌、樸素而古拙的氣息，看到一種沖淡、古樸、野性的美。土壤的質(zhì)料賦予作品蒼涼感，警示人們注意對(duì)土壤的保護(hù)，其中有一種一以貫之的氣作為作品的筋骨，承載著生命之源賦予人們的希望。

For years, Song Chen has used soil as a visual language to re-awaken awe for the earth, bringing people back to our origins. We see in his works a chaotic and simple atmosphere, a dilute, ancient and wild beauty. The material of the soil conveys a sense of desolation, warning people to pay attention to the protection of soil. A constant energetic serves as backbone for the work, carrying hope for people as a source of life.

宋陳，土?xí)盗?/p>

（本，900 mm × 1400 mm；

色，100 mm × 1600 mm；

薼，700 mm × 1200 mm；

塵，100 mm × 1600 mm；

土，550 mm × 1250 mm），

混合泥土?xí)ㄗ髌罚?018

Song Chen,?Earth Calligraphy Series

（Ben?本，900 mm x 1400 mm；

Se?色，100 mm x 1600 mm；

Chen?薼，700 mm x 1200 mm；

Chen?塵，100 mm x 1600 mm；

Tu?土， 550 mm x 1250 mm）,?

Mixed Earth Calligraphy Works, 2018

樸(可作樸)是道的本質(zhì)，代表著本真、淳然、原始的狀態(tài)，猶如木之未成器者。然而，我們?cè)缫巡皇呛⑼?，?dāng)人因社會(huì)構(gòu)建而迷失自己，樸的意義在于超越，是一種“絢爛至極而歸于平淡”的境界。樸素美是去偽存真的美，是恢復(fù)一切事物本來面貌的趨向。

Pu?樸 [simplicity] is the essence of Tao, representing a state of authenticity, simplicity, and originality, like the uncarved wood. However, as we are no longer children and become lost in ourselves due to social constructs, the meaning of?pu?lies in transcendence, a state of being “brilliantly rich and returning to nature.” The beauty of?pu?is the beauty of removing falsehoods and restoring everything to its true appearance.

老子在《道德經(jīng)》中多次談及樸，如“道常無名、樸”、“見素抱樸”、“敦兮其若樸”、“復(fù)歸于樸”等。第三十七章，老子解釋了樸的重要作用:“道常無為而無不為。侯王若能守之，萬物將自化?；?，吾鎮(zhèn)之以無名之樸?！碑?dāng)萬物自生自長而至貪欲萌作時(shí)，道的真樸能起到安定的作用。

Lao Zi often mentioned?pu?in the Tao Te Ching, such as in, “The Tao, considered as unchanging, has no name. Though, in its primordial simplicity it may be small,” or, “A wise man lives a natural and simple life,” and “To keep an unpretending simple self,” as well as “The simple infant man in him we hail.” In Chapter 37, Lao Zi explains the important role of?pu, “The principle of the universe follows natural laws, without trying to ‘do’ anything. As it follows natural laws, nothing is neglected. If a ruler can follow this principle, then all the things in his nation will take place in a natural way. During the process, if selfishness appears, then the simplicity that has no name must be used to dissolve it.” When all things are self-generated and growing and greed and desire begin to arise, the true simplicity of the Tao can have a stabilizing effect.

回歸：反者道之動(dòng)，弱者道之用

Return: Reversion is the Action?

of?Tao?and Gentleness is?

the Function of Tao?

“反”的兩個(gè)含義：一是循環(huán)往復(fù)，二是相反。下面我們主要通過宋陳的土壤生態(tài)作品介紹“反”的內(nèi)涵中“回歸”與“柔弱”產(chǎn)生的生態(tài)美學(xué)意蘊(yùn)。

The term “reversion” has two meanings: one is to cycle back and forth, and the other is to be opposite or contrary. Here we mainly explore the ecological aesthetic significance of return and softness generated by the concept of reversion through the introduction of Song Chen’s soil-based ecological artworks.

“天之道，損有余而補(bǔ)不足。人之道，則不然，損不足以奉有余。”(《道德經(jīng)》第七十七章)人類常常做出一種偏離“道”的行為，從人與自我、人與社會(huì)到國家政治，由于私心多欲，常與“自然”相悖，那么要達(dá)到和諧美的存在狀態(tài)，有時(shí)就不得不反其道而行之。

“Tian zhi dao, sun you yu er bu bu zu. Ren zhi dao, ze buran, sun bu zu yi feng you yu?天之道，損有余而補(bǔ)不足。人之道，則不然，損不足以奉有余” [1] [The way of heaven reduces surplus to make up for scarcity. The Way of man reduces scarcity and pays tribute to surplus.)? Human beings often behave in ways that deviate from the Tao, whether in relation to self, society, or politics. This is due to excessive desire and self-interest. To achieve a state of harmonious beauty, it is sometimes necessary to take a different approach and go against the norm.

宋陳、三強(qiáng)、胡雋佳，大地療愈，

上海新橋美術(shù)館，2021

Song Chen, Sanqiang, Hu Juanjia,?

Earth Healing,?XinQiao Art Museum, 2021

宋陳發(fā)起的《大地療愈》系列，以土壤生態(tài)行為儀式的方式演繹了對(duì)“天人合一”思想的回歸?？此品睆?fù)的形式超越了形式本身，在這里成為一種召喚真樸的方法，讓人們拋棄繁雜的思想和繚亂的聲色，以最純粹的能量鏈接大地、宇宙、他人，回歸到生態(tài)整體的循環(huán)中。

The Earth Healing Series?initiated by Song Chen uses the form of soil-based ecological ritual to interpret a return to the concept of the oneness of heaven and humanity. The seemingly complicated form transcends itself and becomes a way to evoke simplicity, allowing people to abandon complex thoughts and distractions of the world, connecting with the earth, universe, other people through purest energy, returning within a cycle of ecological wholeness.

在泥土裝置《殤土·土壤嬰孩》中，宋陳用多年收集的“病態(tài)土壤”搭建了一個(gè)垂死狀的嬰孩和死寂的子宮。老子說：“人之生也柔弱，其死也堅(jiān)強(qiáng)。草木之生也柔脆，其死也枯槁?！蓖寥缷牒⒆屛覀兡慷昧巳崛跖c枯槁之間的巨大張力，以無聲的力量，帶來靈魂的震顫和行動(dòng)的可能。

In the soil installation?Sentimental Soil·Soil Baby, Song Chen uses?“sick soil” collected over many years to create a dying baby and a lifeless womb. Lao Zi said,?“Ren zhi sheng ye rouruan,?qi si ye jianjiang. Caomu zhi sheng ye roucui, qi si ye kugao?人之生也柔弱，其死也堅(jiān)強(qiáng)。草木之生也柔脆，其死也枯槁.” [Human beings are soft and supple when alive, but stiff and straight when dead. The myriad creatures, the grasses, and trees are soft and fragile when alive, but dry and withered when dead.) The soil baby allows us to witness the enormous tension between softness and rigidity, bringing soulful tremors and possibilities for action through silent force.

宋陳，《土地治愈》展覽現(xiàn)場(chǎng)，

生病的土壤，2019

Song Chen,?The exhibition Healing Land,

Sick Soil, 2019

參考文獻(xiàn)：

[1] 陳鼓應(yīng)，《老子注譯及評(píng)介》，北京：中華書局，2017年。

[2] 曾繁仁，《生態(tài)美學(xué)導(dǎo)論》，北京：商務(wù)印書館，2010年。

[3] 張世英，《天人之際——中西哲學(xué)的困惑與選擇》，北京：人民出版社，1994年。

[4] 李建，《中國古代感物美學(xué)的生態(tài)意蘊(yùn)》，載《南華大學(xué)學(xué)報(bào)（社會(huì)科學(xué)版）》，2018年。

[5] 王璐璐，《論道家的生態(tài)美學(xué)思想》，遼寧：沈陽師范大學(xué)，2015年。

[6] 雷琰，《人詩意地棲居——試論道家的生態(tài)美學(xué)觀》，載《湖北教育學(xué)院學(xué)報(bào)》，2007年。

[7] 蘇州本色美術(shù)館，《藝術(shù)場(chǎng)域?qū)嶒?yàn)｜從蘇州本色到蘇州園林，宋陳〈行走的山水〉系列》

https://mp.weixin.qq.com/s/a_uixl5ymjE2ddrOMNyK7A

[8] 蘇州本色美術(shù)館，《首屆在“世界土壤日”開幕的〈土地治愈〉當(dāng)代藝術(shù)展覽》

https://mp.weixin.qq.com/s/hRUUmSVKqqaKwmuqI-JjIg

[9] 大地療愈公眾號(hào)，《〈大地療愈〉藝術(shù)療愈項(xiàng)目·第二季》

https://mp.weixin.qq.com/s/S0DtOtIM6h9UTAT3Jaizug

References

[1] Chen Guying,?Annotation, Translation and Introduction of Laozi, Beijing: Zhonghua Book Company, 2017.

[2] Zeng Fanren,?Introduction to Ecological Aesthetics, Beijing: The Commercial Press, 2010.

[3] Zhang Shiying,?Between Heaven and Humanity: The Confusion and Choice of Chinese and Western Philosophy, Beijing: People’s Publishing House, 1994.

[4] Li Jian,?Ecological Implications of Ancient Chinese Aesthetics of Sensibility, Journal of Nanhua University (Social Sciences), 2018.

[5] Wang Lulu,?On the Ecological Aesthetics of Daoism, Liaoning: Shenyang Normal University, 2015.

[6] Lei Yan,?Poetically Inhabiting the Earth: A Discussion of the Ecological Aesthetic View of Daoism, Journal of Hubei Institute of Education, 2007.

[7]Suzhou True Color Museum, Art Field Experimentation: From Suzhou Vernacular to Suzhou Garden, Song Chen's Walking Landscape Series.

https://mp.weixin.qq.com/s/a_uixl5ymjE2ddrOMNyK7A

[8]Suzhou True Color Museum, The first "Land Healing" contemporary art exhibition opened on World Soil Day

https://mp.weixin.qq.com/s/hRUUmSVKqqaKwmuqI-JjIg

[9]? Earth Healing Public, Earth Healing Art Project - Season 2

https://mp.weixin.qq.com/s/S0DtOtIM6h9UTAT3Jaizug

* 圖片由藝術(shù)家宋陳提供

* 感謝美國藝術(shù)史學(xué)者康書雅Sophia.Kidd & 助手鐘婷的文章

* 原創(chuàng)?Zhong Tink?言履文化與藝術(shù)

Images courtesy of the artist

鐘婷

字時(shí)止， 四川大學(xué)漢語言文學(xué)專業(yè)文學(xué)學(xué)士， 言履文化與藝術(shù)和 Nuance Art & Culture 的研究與內(nèi)容開發(fā)實(shí)習(xí)生，從事內(nèi)容研發(fā)。她的興趣包括冥想和藝術(shù)與文化的寫作，以此來理解我們生活的世界。她對(duì)藝術(shù)的感知來源于對(duì)人及存在關(guān)系的覺知與悲憫。

職位：

內(nèi)容研發(fā)部撰稿人

電子郵箱：

culture@yanluartsandculture.com

Zhong Tink

Tink Zhong was born in Huizhou, Guangdong in 1998.?Shizhi is her style name.?She graduated from Sichuan University with a degree in Chinese Language and Literature. Currently Tink develops content while furthering aims in research and development at Yanlu Arts & Culture and Nuance?Art & Culture. Her passions include meditation and ?writing about art and culture as a means to understand the world we live in. Her perception of art comes from compassion and awareness of human and existential relationships.

Position:?

Research & Content Development?Writer

E-mail:?

culture@yanluartsandculture.com

來源：言履文化與藝術(shù)

作者：鐘婷

翻譯：錢思程

編輯：毛菁

責(zé)編：

小元? ?康書雅

Source：Yanlu Arts ＆ Culture

Author：

Zhong Tink

Translator : Jack

?Editor: Mao Jing

Editor in Charge：

Xiaoyuan

Dr. Sophia Grace Kidd

言履文化與藝術(shù)機(jī)構(gòu)是一家私營機(jī)構(gòu)，致力于推進(jìn)國內(nèi)外藝術(shù)、文化、教育領(lǐng)域的專家團(tuán)隊(duì)項(xiàng)目，以及培養(yǎng)新生代藝術(shù)家，文化工作者、譯者、研究人員，促進(jìn)國際交流。

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