中国古代之"文"非现代"文学"之学科所指范围."纹理"之"文"在早期观念中就有生成,"天地之文"是"文"的基本意涵和视域,包括天文、地文及天地间万物、万象之文."德道之文"即"文德",圣人、君王、君子的"文德"要基于"天"而合其德."礼文"虽以社会层面呈现,但其构成体系和思想实质则是天—社会—人之三位一体的关联整体,儒家之"内心修德,外被礼文"是"礼文""成人"的本质属性和根本依据.在当下语境中重塑中国古代"文"之源头活水,具有破除学科辖域化、生发"文"之大生命意义的当代价值.

"Ox-Herding"is an important metaphor in Buddhism.From the middle Tang Dynasty to the Song Dynasty,it became a common phrase used by Zen masters to express Zen mind.Ox Herding Pictures and its ode were widely circulated in the Song Dynasty.Among them,Pu Ming and Kuo An's versions had a profound influence.Their Ox Herding Pictures generated an ideographic system of im-ages with"ox-human"as the core.Black ox evolved into the white,the relationship between ox and people changes from confrontation to"forgetting the other"and"alone in the light",and then life shows its"original face";Ox Herding Pictures and their odes construct a unique Ox-Herding-realm,one painting one realm,and the whole creates the final"sunyata state";"sunyata"turns into Ensō,that is,the"○"symbol.This image means that life is"original nothing",which is a supreme aes-thetic existence;Ox Herding Pictures and its ode and the ideas carried by it have been widely spread in countries such as Japan and Germany,exerting a profound influence in the cross-cultural perspective.

"道"是中国艺术之本体,"艺道"、"文道"之论贯穿于中国古代的艺术哲学思想."艺道"首先是在"文道"之视域,古代之"文"非现代学科之文学,而是涵纳天地万物之纹理、文饰、文德、文章之文,此经刘勰之"文"的多层阐发,凸显了"文"之"人文"和宇宙天地的旨趣;儒家之艺道经唐韩愈、柳宗元倡"文以明道"至宋而明确,周敦颐、二程和朱熹等将"艺"经"文"提升到"天理"之视域,不仅根植以仁道,亦内植以自然;儒道释三教融合中的欧阳修、苏轼等文人赋予"道"宇宙大生命的自然特质,依此建构"执道为本"、"有道有艺"之"道通为一"的艺道观.因此,"文道"之"艺道"最终体现为文艺之天地大道,其内核便是宇宙万物生生之精神,此博远于历代,辉焕于当代.

“Mo-xi”（It refers to the “impromptu freehand brushwork” or the “ink play”） is an important artistic concept in Chinese aesthetics and its generation can be attributed to the awakening of the self-consciousness of the artistic subject, the understanding of the essence of artistic creation and the development of artistic media. On the one hand, “mo-xi” benefited from the creative practices, such as that of WANG Wei, WANG Mo, SU Shi, WEN Tong, MI Fu and his son, etc. On the other hand, it came from numerous calligraphies and painting comments in Tang and Song Dynasties. And thus, “mo-xi” may refer to the process and the state of artistic creation and the created works, and then it further refers to a spirit of artistic creation. The concept of “mo-xi” was established in Song Dynasty, evolving from Wei, Jin, Southern and Northern Dynasties, Tang Dynasties and was widely extended in the Yuan, Ming and Qing Dynasties. It reflects the creative subjects’ natural and unrestrained aesthetic themes and their innovative spirits that advocate innovation and adherence to the principle of spontaneity, embodying the ideals of Chinese literati art whose characteristics is to connect all creatures in the universe.

"活法"是中国古代文艺创作的重要思想,首倡者应为北宋胡宿,其以"活法"来倡诗作之新变;苏轼对"活法"的推进至关重要,提出"信道法智""道凝而法活",反对"死法",将"活法"作为"道"及万物人生之本性而致思,确定了"活法"的基本意涵和生命向度.吕本中认为"活法"是"有定法而无定法,无定法而有定法",并落实到自我生命的维度,张元幹、杨万里等进一步阐发了"活法"之说.宋代理学彰显着生生性、活络性,"活泼泼地"是理学家常探究的话题,儒家之"活"是万物之理、学问之法,亦是文艺之则;禅宗之"活"是"活法"观的重要思想源头,"参活句"一直是宋代禅僧的话头,圆悟克勤、大慧宗杲多次论及,这对吕本中、杨万里等"活法"观具有巨大影响,清代朱庭珍、石涛等人直接将"活法"阐发为"至法""无法之法".中国古代之"活法"观凝结着宇宙万物之生命的深度思考.

2021年度,艺术学界在总结百年现代中国艺术理论特性、推进艺术学"三大体系"建设、完善学科架构、深入开展基础理论研究及扩展跨学科研究的理论维度等多个方面既有理论创新,也有思想的纵深发展.艺术史研究走向深入,研究者尝试厘清艺术史的边界与范围,并在宏观的史学视野中建构艺术史学.马克思主义艺术社会史、神经艺术史、数字艺术史等成为学界研究热点.艺术史文献整理成果丰硕.艺术批评研究取得了突出成绩,但也存在有待完善和拓展之处.

"法"的观念生成于先秦时期,《荀子》中"尚法而无法"可谓"法而无法"的最早出处,但与后来文艺创作之"法而无法"意涵不同.一方面,"法而无法"秉承了中国哲学自然之道的理念,汉魏晋书论中的"法自然"思想、唐宋文人和理学家所倡的"无意""自然成文""法度即自然""从心所欲不逾矩"等理论都呈现着"自然之道趣";另一方面,"法而无法"具有"变法创新"的意涵与精神,刘勰之"通变无方",唐代之创变,两宋之疑古求新,破"正法""常法",倡"日新""通变"等,皆凸显了艺术创变新意之思;同时,法之"无法"还具有超越之质,意在超越任何"法"之束缚,挺立自我、涵纳宇宙,从而通体透彻,自在活络."法而无法"彰显着中国艺术特有的生命意识和创新精神.