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“意境”是我国传统美学中的一个重要范畴,并构成了艺术美不可缺少的因素。它最早出现于唐代王昌龄的《诗格》,后人把它作为衡量诗歌的唯一标准,并建立了较系统的意境学说。 但“意境”说在我国古代绘画理论中出现得要晚些,没有专门的研究,只有一些散论,其见解却是十分精辟的。在东晋南齐时虽有“骨法、形神、势态、气韵、以形写神”、“取之象解”的主张,还有谢赫总结的“六法”论。首重气韵,奠定了中国画论的基础。张彦远在《历代名画记·论画山水树石》中只有“凝意”、“得意深奇”的说法;五代荆浩《笔法记》有“真景”(即谓“可意笔墨,而有真景”)、“产物象而取其真”、“真者气质俱盛”等,但对于意的提法仍属于创作中的主观意向方面,没有涉及到“意”与“象”的关系问题,而“意境”这一概念在相当长的一段时间内却没有被提出来。
“Artistic conception” is an important category in our country’s traditional aesthetics and constitutes an indispensable factor in artistic beauty. It first appeared in Wang Changling’s “poem” in the Tang Dynasty. Later generations regarded it as the only measure of poetry and established a more systematic theory of conception. However, “artistic conception” said that it appeared later in the ancient Chinese painting theory that there was no special study, and only a few articles on the theory were very insightful. In the Eastern Jin and Southern Qi dynasties, although there are “bone method, form and spirit, state of mind, rhyme, in order to describe God”, “take the image of” the idea, as well as Sheikh summed up the “six law” theory. The first heavy charm, laid the foundation of Chinese painting theory. Zhang Yan-yuan in the “famous paintings in the history of landscape trees” only “condensate”, “proud”; five generations of Jing Hao “Writing Notes” have “true view” (that is “ The True Images ”),“ The True Appearance of Products ”and“ The True Temperament and Quality ”, etc. However, the formulation of meaning still belongs to the subjective intention in creation, and does not relate to the relationship between“ meaning ”and“ image ” However, the concept of “artistic conception” has not been put forward for quite some time.