Search

International audience; The papers of this special issue discuss the question of sketch as a subject matter of aesthetics, in theory and in practice, rather than an art history. The issue of sketch does not necessarily concern with artworks. Thus, in “Sketch as Medium in Collective Musical Creation: The Case of Atlas Lab Taipei 2017”, the authors, Yang Chien-Chang et al., take the schematic musical notations on a sheet of paper as an indispensable practice in order to harmonize all the musicians of an orchestra. In this case, the aesthetic value of sketch is not a step for completing an individual work, but an indispensable element for the construction of a collective artwork. In "Le réseau fluide dans la création en image de Wolfgang Tillmans", Lin Chi-Ming demonstrates the aesthetic function of sketch in Tilmans’ exhibitions' preparatory maps, representing a crucial and valuable step of display, but not being artistic works. In “From sketch to fragment”, Jean-Marie Schaeffer examines the different meanings of sketch in European art to underline the focal points and the divergences between sketch and fragment. Whereas in "Beyond Brush and Ink: Sketch Thought and Practice in Classical Chinese Poetry and Painting”, Johanna Liu argues about the specificities of sketch in Chinese arts, rethinking the tension between making and sketching, as well as the poetic power of incompleteness in Chinese literati's art making. Even though, drawings and sketches are not always artistic, however, as Huang Kuan-Min explains in “Roughness and Sketch: The Barbarian Principle in Arts”, sketches and drawings keep a common rough aspect, related to the birth of an artwork for instance. Far from being a constraint, a preparatory drawing or sketch are therefore an expectation, a promise of something else, though they can be considered as artworks per se. The appreciation of the Taiwanese painter Tsai Shui-lin’s works can be understood in this context, as Tsai Shih-Wei has indicated in "Unfinishedness and sketch consciousness in Tsai Shui-Lin’s Works."; Les articles de ce numéro examinent la question de l’esquisse moins du point de vue de l’histoire de l’art que de celui de l’esthétique, en mettant en avant la relation entre théorie et pratique. L’esquisse ne s’applique en effet pas nécessairement à une œuvre d’art. Ainsi, l’article de Yang Chien-chang et al. "Sketch as Medium in Collective Musical Creation: The Case of Atlas Lab Taipei 2017" prend pour exemple les notations schématiques employées en musique qui aident à mettre en pratique la collaboration et l’harmonie entre tous les musiciens d’un orchestre. Dans ce cas, l’esquisse jetée sur le papier n’a pas de valeur artistique en soi, mais elle est indispensable à la construction non d’une œuvre individuelle, mais collective. De même, dans "Le réseau fluide dans la création en image de Wolfgang Tillmans", Lin Chi-Ming montre que les plans préparatoires aux expositions de Tillmans constituent une étape indispensable, voire cruciale, qui peut être mise en valeur per se, cependant ces plans préparatoires ne sont pas en soi des œuvres artistiques. Jean-Marie Schaeffer dans « From sketch to fragment », examine les divers sens de l'esquisse dans l'art en Europe, et présente les points de convergence et de divergence avec le fragment. Alors que Johanna Liu, dans "Beyond Brush and Ink: Sketch Thought and Practice in Classical Chinese Poetry and Painting", souligne les spécificités de l'esquisse dans l'art chinois. Pourtant, les dessins comme esquisses ne sont pas nécessairement artistiques, mais, comme le montre Huang Kuan-min dans « Roughness and Sketch: The Barbarian Principle in Arts », les esquisses conservent un aspect brut, grossier, partagé avec le dessin, qui se rapporte à l’étape de naissance d’une œuvre notamment. Loin de constituer une contrainte, le dessin préparatoire ou l’esquisse sont alors une attente, une promesse d’autre chose, même s’ils peuvent être considérés comme des œuvres en soi. L’appréciation des œuvres du peintre taïwanais Tsai Shui-lin peut se comprendre dans ce contexte, dans "Unfinishedness and sketch consciousness in Tsai Shui-Lin’s Works" par Tsai Shih-Wei.

International audience; Special Issue: Sketch, Schema and Aesthetics1 Introduction: Sketch, Schema and Aesthetics Joanna LIU, Yolaine ESCANDE3 Before The Aura—An Anthropological Approach to the Art and to the Practice of Drawing from an Indian Perspective Denis VIDAL27 Praise of the Draft: A Study of Aesthetic Terms in Chinese Arts Yolaine ESCANDE43 Schematism of Narrative Function: And on a Relationship of Arendt to Ricoeur Wen-Sheng WANG65 Performing Diverge(d): The Theatrical Sketch of Tainaner Ensemble’s Belle Reprieve Fan-Ting CHENG85 Intercultural Transfer of Time Schema: On Philippe Couplet’s Four Last Things Ya-Hui YANG109 Sketch as Musical Medium: On Tōru Takemitsu’s Musical Garden Chien-chang YANG; 1 導言：草稿、圖式與美學專題 劉千美、幽蘭3 靈光之前——從人類學的進路看印度觀點下的草圖實踐與藝術 德尼‧維達爾27 草稿與不了的頌揚：中國藝術詞彙的美學解析 幽蘭43 敘事作用的圖式論：鄂蘭和呂格爾關係的一種探討 汪文聖65 （被）誤差：《姊夠甜．那吸》戲劇手稿之文化意義 鄭芳婷85 時間圖式的跨文化遞移：論柏應理（Philippe Couplet）《四末真論》 楊雅惠109 草圖作為音樂媒介：論武滿徹的音樂庭園 楊建章

In Chinese painting as well as in Chinese calligraphy, especially in cursive script (caoshu), what is appreciated and valued is not a completed drawing considered as such, that means a drawing not needing any other interpretation, meaning enough by itself and sufficiently explicit not to occur any confusion or debate. On the contrary, it is a draft or an unfinished drawing or outline, allowing varied interpretations, appreciated according to its capacity to stimulate imagination and to produce an effect on the beholder that connects him or her to the creation. Though what is appreciated and valued is not the sketch for something that would come later. This might explain why artworks are called ＂traces＂, and how they can ＂imprint＂ human's heart. The paper will examine, through the Chinese aesthetic categories-that concern the process much more than the accomplished work result-the differences between the Renaissance's disegno and the Chinese literati's ＂intention＂, the meaning of a ＂drawing＂ in French and in English on the one hand, and on the other hand the meaning of an ＂artwork＂, a ＂sketch＂, a ＂draft＂ in the Chinese arts. The draft will also be examined together with the ＂trace＂ (ji) and the ＂imprint＂ (yin), such as it has been defined by Georges Didi-Huberman in his La ressemblance par contact (2008) (resemblance by contact), by using Chinese theoretical tradition texts, such as Zhang Yanyuan's Annals of Famous painters of Successive Dynasties (Lidai minghua ji), Zhang Huaiguan's Judgements on Calligraphers (Shuduan), Guo Ruoxu's Notes on what I have Heard and Seen on Painting (Tuhua jianwen zhi) and Shen Zongqian's Jiezhou's Apprenticeship on Painting (Jiezhou xuehua bian), 中國文人繪畫與書法，尤其是草書，與「不了」之畫，所強調的並不是已完成的圖作，亦即立刻能了解、無需解釋、而不引起任何爭論的圖作；反而強調「不了」的畫，讓觀者按照自己的想像力與感受去理解的草稿的圖。但由於這種圖作並不是之後完成的作品的第一個階段，只能稱之為「跡」，是能夠「印」人「心」之「跡」。本文首先思考法文和英文語言中藝術草圖的意義、並探討中國藝術裡草圖和素描的關係。藉以反思有關藝術過程——而非藝術結果——的中國美學語彙的歸類問題。其次，本文有關草圖的研究涉及歐洲文藝復興時期興起的disegno與中國「意在筆前」和「寫意」畫的差異；進而分析草書與草稿和草圖的關係，以探討中國文人以「迹」、「跡」（墨跡）為名的書畫作品與拓印的關係。本文拓印的含義是以喬治．迪迪-于貝爾曼（Georges Didi-Huberman）在《接觸的近似》一書的定義為據。以參照張彥遠《歷代名畫記》，張懷瓘《書斷》，郭若虛《圖畫見聞志》與沈宗騫《芥舟學畫編》等歷代中國文獻為對比。

International audience; This paper shows how Chinese philosophy was discovered by a very large audience in France via aesthetics, through the best-known works of a diasporic Chinese figure, François Cheng, and then how Chinese philosophy was put into practice in France by another diasporic Chinese figure, Hsiung Ping-Ming. The paper explains the role of aesthetics and the arts relative to philosophy. It analyzes different types of methodologies with reference to the Western path chosen by François Cheng, one nevertheless different from that of Western scholars, and to the Chinese path chosen by Hsiung Ping-Ming, which remains specific to the latter, compared to that of other Chinese scholars.

International audience; 無論是中國還是歐洲，「風景」 畫和「山水」 畫都不可能只是模仿大自然，而一定是重新建構所謂的自然。眼前所見甚大，無法在布、紙上模擬，首先必須對所選擇的景觀作縮小、簡化、重新組合。

International audience; 風景畫發源於北歐，它象徵>承蒙上帝恩澤的世界。在南歐，意大利雖未建構出風景畫理論，卻一直有以自然物（尤其是石頭，見圖1、彩頁三上）來象徵聖母瑪利亞的傳統：這事實上已具備了風景畫的所有條件。因此，聖母像對於意大利風景畫的發展十分重要。在意大利，聖母逐漸變成風景畫的一部分，有了風景，聖母才有意義；而相形之下，在不信奉聖母的新教地區——北歐，這種現象卻並未出現。不少當代風景畫的專家，如羅歇（Alain Roger）等，認為風景畫的發明與歐洲的非宗教化有關。可是，無論是意大利把自然物與聖母、耶穌連接起來，抑或北歐把風景畫成上帝的世界，這兩種風景畫產生的主要條件，都證明風景畫 ́的世界並不是非宗教化的。

International audience; Landscape: A comparison between Chinese Mountains and Waters and European Landscape; 「景觀」 並非普遍的觀念：很多文明沒有創造出形容「景觀」 的詞彙。據著名景觀思想專家、經常往返日本的法國 地理學家貝爾凱（AugustinBerque）說 ，歷史上只有兩種文明創造出「景觀」 文化，即中國魏晉時代及歐洲文藝復興時代。貝爾凱為「景觀」 下了定義，認為「景觀社會」必須滿足四個標準1：一，「景觀」 的語言表現：一個或多個指涉「景觀」 的詞彙；二，「景觀」 的文學表現：欣賞「景觀」 的文章或詩詞；三，「景觀」 的繪畫表現：以「景觀」 為主題的繪畫；四，「景觀」 的園林表現：非耕作園林。不少社會具備這四個標準中之一部分，然而，沒有完全滿足這四個標準，就不能算是真正的「景觀社會」。