论中国文人山水画中的神农氏之诗境

中国山水画尤其是文人山水画中总是或隐或现地置一或几处农舍、几个渔夫或樵夫。在这些山水画中的农舍、渔夫、樵夫的诗意存在中,我们可挖掘出一种不同于释道哲学的另一种诗境,被称之为"神农氏之诗境",即墨家的诗意哲学。墨家由于重视人的食本能,理论本体就是"民以食为天"。勤劳质朴、自食其力和省吃俭用的农夫、渔夫和樵夫成了墨家提倡赞扬的主体。墨家勤劳自立的农夫在被道家精神渗透后,有了诗意的存在,唯恐异化的农业劳动成了一种自觉自愿的生命活动,也形成了中华民族赞美农业劳动的审美理想。"此中有真意",日常生活的诗化使农夫、樵夫、渔夫成了人生的最高存在方式,也是农业文明的最高价值。于是在文人山水画中出现农舍、渔夫和樵夫也就不足为怪了。

The Rustic Poetry in Chinese Scholarly Landscape

There are always a few farmhouses, fishermen or woodcutters in Chinese landscape, especially in scholarly paintings. From the poetic meanings of the presence of these farmhouses, fishermen and woodcutters, we can identify a poetic meaning different from Buddhist and Taoist ones, namely the rustic poetic meaning, or Mo-tse's poetic philosophy. Mo-tse attaches importance to man's instinct of eating food, so the essence of his theory is that "food is the first necessity of man". The industrious, thrifty and self-reliant farmers, fishermen or woodcutters are thus those praised by Mo-tse. The hard-working self-reliant farmer, touched with Taoism, becomes a poetic being, and farm work, which is always under the threat of alienation, turns out a willing activity of life and an aesthetic ideal of the Chinese nation that sings high praise of agriculture. "In this rustic life lies the true meaning of life," so the poeticalization of daily life makes the life of farmers, woodcutters, fishermen the highest life style that embodies the highest value of agricultural civilization. Therefore, it follows that the scholarly landscape paintings are filled with farmhouses, fishermen and woodcutters.