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山水画的独立形成是与人的审美自觉分不开的。中国画理论的成熟反过来更加促进了绘画水平的提高和技法的进一步完善。顾恺之“以形写神”论的提出,是对“物”的第一次超越,使中国画的审美思想倾向开始指向人的精神世界,稍晚于顾恺之的谢赫《六法》中“气韵生动”之妙论,一举道出了中国画的朗朗乾坤。山水画产生于这样的时代背景,自然一开始就赋予着深层的文化内涵,和“成教化,助人伦”的人物画不同,山水画生来就体现的是人和自然的和谐关系,而不像人物画那样关照的主要是人对社会的适从。这无疑给山水画的发展提供了无限的空间。也正因此,才能令山水画后来居上,在从魏晋至宋代的几百年中一跃成为中国画的主流。
The independent formation of landscape painting is inseparable from people’s aesthetic consciousness. The maturity of Chinese painting theory in turn promoted the improvement of the level of painting and the further improvement of techniques. Gu Kaizhi’s proposal of “describing God by shape” is the first surpassing of “thing”, which makes the inclination of aesthetic thought of Chinese painting begin to point to the spiritual world of mankind. Later, in the “six virtues” of Sheikh by Gu Kaizhi, The wonderful theory, in one fell swoop the Chinese painting Langlang universe. Landscape painting originated from the background of this era. Since the beginning, nature has given deep cultural connotations. Compared with the figure of “adult education and help-allure,” landscape painting is inherently harmonious with the harmonious relationship between man and nature, unlike landscape painting The main concern is that people adapt to society. This undoubtedly provides an infinite space for the development of landscape painting. It is precisely because of this that landscape painting can come from behind to become the mainstream of Chinese painting in the hundreds of years from the Wei and Jin Dynasties to the Song Dynasty.