论中国古典诗书画中的草稿思维

On the Draft-Oriented Thinking in Classical Chinese Poetry, Calligraphy, and Painting

摘要: 围绕草稿思维的艺术层面研究由来已久。在西方的艺术语境之下，形而上的面向依然占据着重要位置。在这个背景下，草稿相对于草图而言相对次要。从西方美学哲学角度来看，亚里士多德的“现实与潜能”理论及梅洛庞蒂的知觉现象学对草稿价值给出了不同解释，这需要被关注；中国古典诗书画中“以稿为作”及“仿”的传统体现了草稿思维内涵，反映文人对创作过程珍视，体现对自然、传统与创新的追求，影响后世美学。中西方思想对草稿艺术价值不同理解和相互补充，对草稿艺术价值的探索与融合，既展现了中西方美学的精华，又推动着美学研究发展。

Abstract: Research on the artistic dimensions of draft-oriented thinking has a long history. Within the Western artistic context, metaphysical perspectives continue to occupy a dominant position; against this backdrop, the concept of a “draft” (or caogao) remains relatively secondary compared to that of a “sketch” (or caotu). From the viewpoint of Western aesthetics and philosophy, Aristotle’s theory of “actuality and potentiality” and Maurice Merleau-Ponty’s phenomenology of perception offer distinct interpretations of the value of drafts, both of which merit close attention. Conversely, the traditions of “treating drafts as finished works” (yi gao wei zuo) and “imitation/emulation” (fang) in classical Chinese poetry, calligraphy, and painting embody the core connotations of draft-oriented thinking. These traditions reflect the literati’s deep appreciation for the creative process itself, as well as their pursuit of nature, tradition, and innovation, profoundly influencing later generations of aesthetics. The varying understandings of the artistic value of drafts in Western and Chinese thought complement each other. The exploration and integration of this artistic value not only showcase the essence of both Chinese and Western aesthetics but also propel the broader development of aesthetic research.