丰子恺《护生画集》的生态美学价值
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摘要
丰子恺的《护生画集》,以艺术审美的方式关注人与自然的生态依存关系,通过绘画的构图、线条、色彩等艺术手段,并采用图文互释的方式来表达"戒杀护生""众生平等""万物一体""因缘而生"的生态意识,使观者在研玩欣赏的过程中产生一种保护自然生命的生态意识,因而具有重要的生态美学价值。这种生态美学价值虽然与生态伦理学的目标是一致的,都是实现人与自然生态的和谐相处,但在实现这一目标的手段和方式上,两者却有着极大的不同。《护生画集》非简单的"劝善图画",而是将生态意识审美化,通过具体形象的艺术手段,通过诉诸人的情感与感受的审美方式,达到保护生态环境的目的,这也是解决生态问题的根本方式。
In his Painting Albums: Protection of Life,Feng Zikai draws people's attention to the ecological interdependence between human beings and nature by way of artistic aesthetics. It expresses such ecological consciousness as "to protect beings and stop killing""equality of all beings""unity of all"and "living by fate"through the artistic means of composition,lines and colors of painting,and by means of mutual interpretation of pictures and texts,which may help arouse people's desire to protect natural life in the process of studying and appreciating the paintings. All this shape the ecological aesthetics value of this Album. Although this ecological aesthetic value shares the same goal as ecological ethics,which is to achieve the harmonious coexistence of human beings and natural ecology,there are great differences in the means and ways to achieve this goal. Painting Albums: Protection of Life is not merely a series of pictures to persuade,instead,it conveys the ecological consciousness through aesthetic experience. It attains the aim to protect the ecological environment by means of specific images,which awake people's emotions and feelings. This is also the fundamental way to solve ecological problems.
In his Painting Albums: Protection of Life,Feng Zikai draws people's attention to the ecological interdependence between human beings and nature by way of artistic aesthetics. It expresses such ecological consciousness as "to protect beings and stop killing""equality of all beings""unity of all"and "living by fate"through the artistic means of composition,lines and colors of painting,and by means of mutual interpretation of pictures and texts,which may help arouse people's desire to protect natural life in the process of studying and appreciating the paintings. All this shape the ecological aesthetics value of this Album. Although this ecological aesthetic value shares the same goal as ecological ethics,which is to achieve the harmonious coexistence of human beings and natural ecology,there are great differences in the means and ways to achieve this goal. Painting Albums: Protection of Life is not merely a series of pictures to persuade,instead,it conveys the ecological consciousness through aesthetic experience. It attains the aim to protect the ecological environment by means of specific images,which awake people's emotions and feelings. This is also the fundamental way to solve ecological problems.
引文
[1]丰子恺.护生画三集[M].北京:海豚出版社,2014.
[2]林子青,编.弘一法师书信[M].北京:生活·读书·新知三联书店,2007.
[3]王先霈.丰子恺《护生画集》对现代生态文艺学的启示[J].河南社会科学,2010,(4).
[4]丰子恺.续护生画集[M].北京:海豚出版社,2014.
[5]丰子恺,弘一法师.护生画集:第一集[M].北京:龙门书局,2009.
[6]陈飞鹏,整理.弘一法师书信全集[M].北京:文物出版社,2017.
[7]丰子恺,弘一法师.护生画集:第二集[M].北京:龙门书局,2009.
[8]徐恒醇.生态美学[M].西安:陕西人民教育出版社,2000.
[9]陈星.功德圆满——评丰子恺《护生画集》[J].读书,1993,(4).
[10]丰陈宝,丰一吟,编.丰子恺文集:第四卷[M].杭州:浙江文艺出版社,1990.
[11]丰陈宝,丰一吟,编.丰子恺文集:第二卷[M].杭州:浙江文艺出版社,1990.
[12]李庆本.卡尔松与欣赏自然的三种模式[J].山东社会科学,2014,(1).
[13]李庆本.从生态美学看实践美学[J].文艺理论研究,2010,(3).
[14]张斌.丰子恺绘画艺术中的生命诗意——以《护生画集》为中心[J].荣宝斋,2011,(5).
[15]丰子恺.护生画初集[M].北京:海豚出版社,2014.
[16]丰陈宝,丰一吟,编.丰子恺文集:第一卷[M].杭州:浙江文艺出版社,1996.
[17]丰子恺,虞愚.护生画集:第五集[M].北京:龙门书局,2009.
[18]沃尔夫冈·韦尔施.如何超越人类中心主义[J].朱林,译.民族艺术研究,2004,(5).
[19]丰子恺,叶恭绰.护生画集:第三集[M].北京:龙门书局,2009.
[20]丰子恺,朱幼兰.护生画集:第六集[M].北京:龙门书局,2009.
[21]海德格尔.人,诗意地安居——海德格尔语要[M].郜元宝,译.上海:上海远东出版社,2004.
[22]翟拉·艾兹恩.生态美学与赫尔曼·普瑞格恩的艺术[M]//李庆本,主编.国外生态美学读本.长春:长春出版社,2009.
[23]丰陈宝,丰一吟,编.丰子恺文集:第三卷[M].杭州:浙江文艺出版社,1990.
[2]林子青,编.弘一法师书信[M].北京:生活·读书·新知三联书店,2007.
[3]王先霈.丰子恺《护生画集》对现代生态文艺学的启示[J].河南社会科学,2010,(4).
[4]丰子恺.续护生画集[M].北京:海豚出版社,2014.
[5]丰子恺,弘一法师.护生画集:第一集[M].北京:龙门书局,2009.
[6]陈飞鹏,整理.弘一法师书信全集[M].北京:文物出版社,2017.
[7]丰子恺,弘一法师.护生画集:第二集[M].北京:龙门书局,2009.
[8]徐恒醇.生态美学[M].西安:陕西人民教育出版社,2000.
[9]陈星.功德圆满——评丰子恺《护生画集》[J].读书,1993,(4).
[10]丰陈宝,丰一吟,编.丰子恺文集:第四卷[M].杭州:浙江文艺出版社,1990.
[11]丰陈宝,丰一吟,编.丰子恺文集:第二卷[M].杭州:浙江文艺出版社,1990.
[12]李庆本.卡尔松与欣赏自然的三种模式[J].山东社会科学,2014,(1).
[13]李庆本.从生态美学看实践美学[J].文艺理论研究,2010,(3).
[14]张斌.丰子恺绘画艺术中的生命诗意——以《护生画集》为中心[J].荣宝斋,2011,(5).
[15]丰子恺.护生画初集[M].北京:海豚出版社,2014.
[16]丰陈宝,丰一吟,编.丰子恺文集:第一卷[M].杭州:浙江文艺出版社,1996.
[17]丰子恺,虞愚.护生画集:第五集[M].北京:龙门书局,2009.
[18]沃尔夫冈·韦尔施.如何超越人类中心主义[J].朱林,译.民族艺术研究,2004,(5).
[19]丰子恺,叶恭绰.护生画集:第三集[M].北京:龙门书局,2009.
[20]丰子恺,朱幼兰.护生画集:第六集[M].北京:龙门书局,2009.
[21]海德格尔.人,诗意地安居——海德格尔语要[M].郜元宝,译.上海:上海远东出版社,2004.
[22]翟拉·艾兹恩.生态美学与赫尔曼·普瑞格恩的艺术[M]//李庆本,主编.国外生态美学读本.长春:长春出版社,2009.
[23]丰陈宝,丰一吟,编.丰子恺文集:第三卷[M].杭州:浙江文艺出版社,1990.