書籍介紹
本書從跨文化思維的視角批判性地解構探索現有有關視覺的哲學理論以及有關中國古代繪畫理論的當代研究，除了揭示古代山水畫及與相關理論文本傳承的獨特性及其對哲學和藝術理論美學的當代意蘊，也對當代生態論提供具有啟發性的哲學分析。
目次
自 序 ······················································iii
第一章 導論
第一節 從直觀問題到現實與世界 ············································1
第二節 介於哲學和藝術之間的跨文化研究 ··························12
第三節 以現象學考察中國古代畫論 ·······································19
第四節 繪畫、直觀與身體自我 ················································28
第五節 圖像與現實的關係 ························································41
第六節 圖像的實行向度 ·····························································50
第七節 山水畫是不是一種風景畫？ ·······································66
第二章 山水畫現有的研究成果與尚待探究的問題
第一節 有關山水畫的學術論述 ··············································75
一、藝術史的概要和基本假設 ··················································78
二、宗教根源 ··········································································81
三、具有形上學意旨的寫實主義 ·······································83
四、主體的個人表達 ·····························································90
五、圖像的實行向度與美學工夫 ·······································94
第二節 當代跨文化美學的困境 ·······································100
一、中文美學的術語問題 ····················································100
二、美學是「有關美的哲學」？ ·······································109
三、藝術隸屬認知論？ ························································116
四、模擬還是表達？ ·····························································120
五、圖畫的實行向度 ·····························································124
第三章 有關山水畫之省思的前提與開端
第一節 早期繪畫與顧愷之的「傳神」 ···························129
第二節 表達、氣與圖像理論 ············································134
一、從身體現象學看古代氣論 ············································137
二、氣作為效力的表達 ·························································141
三、氣論與音樂 ······································································144
四、氣論與圖像 ······································································151
五、起自氣的藝術行為 ·························································160
六、氣論、相人術和「品藻」 ············································164
第三節 謝赫論「氣韻」 ·····················································171
一、圖像畫面中的「氣韻」··················································173
二、身體自我的造形工夫與「骨法」的問題 ··················183
第四章 以世界與身體思考山水畫
第一節 宗炳論山水與世界的開顯 ···································193
一、對世界的直觀 ·································································195
二、顯現與顯相 ······································································199
三、切身回應與繪圖 ·····························································203
四、觀畫與美學工夫 ·····························································207
五、形象與備有效能的形態·················································216
第二節 王微論繪畫的優勢 ················································225
第三節 張彥遠論「自然」 ···············································234
第四節 荊浩論「真景」 ····················································242
一、古松與人間世界 ·····························································243
二、「真景」的問題 ·····························································247
三、手腕中有世界 ·································································254
第五節 五代論「世界—圖像」 ·······································271
第六節 「世界—圖像」完成於北宋 ·······························279
第五章 從接收美學到美學工夫
第一節 郭熙論棲居於「世界—圖像」中 ···································285
一、畫景開啟周圍世界 ······································································286
二、「世界—圖像」開啟一個棲居場所 ·······································307
三、經由「處身情境」畫圖······························································330
第二節 韓拙對「世界—圖像」的體系化 ···································335
一、畫景構造與「世界場所」 ·························································337
二、畫景開顯「周圍世界」······························································343
三、煙霧、雲和氣的顯現 ·································································348
四、遠景、「微顯現」及「濃厚畫面」 ·······································351
五、畫者的態度、筆觸與筆勢 ························································366
六、觀畫者逆轉投入轉成圖像的世界 ············································383
第六章 結論與瞻望
第一節 中國古代的「世界—圖像」與富有倫理學意義的美學工夫 ········ 387
第二節 針對當代美學和圖像理論的結論：經由畫面思考 ··········399
第三節 哲學瞻望：從凝視到棲居 ·····························································411
徵引書目 ·······································································································419
索 引 ··········································································································441
編／著／譯者簡介
作者簡介
宋灝（Mathias Obert）
德國慕尼黑大學博士，國立中山大學哲學研究所教授。研究專長涵蓋現象學、當代美學、跨文化哲學、中國書畫理論。自2006年以來居住台灣，除了哲學研究之外也從事藝術創作。著有Welt als Bild: Die theoretische Grundlegung der chinesischen Berg-Wasser-Malerei zwischen dem 5. und dem 12（世界為一圖像：論述第五至第十二世紀中國山水畫之理論奠基）、Tanzende Bäume, sprechende Steine. Zur Phänomenologie japanischer Gärten（舞動的樹、會說話的石頭：關於日本庭園的現象學研究）、《漢學與跨文化思維》、《意義闡釋與時間性：華嚴宗詮釋學相關哲學研究》等書。
分類
其他詳細資訊
- 英文題名：Dwelling Inside the Picture: Phenomenologi-cal Investigations into the Theory of Ancient Chinese Mountain-Water Painting
- 適用對象：成人(學術性)
- 關鍵詞：哲學，現象學，美學，跨文化研究
- 附件：無附件
- 頁/張/片數：448
授權資訊
- 著作財產權管理機關或擁有者：國立臺灣大學出版中心
- 取得授權資訊：聯絡處室：國立臺灣大學出版中心
姓名：游紫玲
電話：02-33669984
地址：台北市羅斯福路四段1號