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作为中国文学艺术的组成部分,书画在汉末魏晋时期也步入了艺术的自觉。就其发展历程来看,汉末魏晋时期书法艺术率先走向艺术自觉,魏晋之际以表现人物美的人物画又得到充分发展,而晋宋之际以表现自然美的山水画也迎来了独立发展的大好局面。山水画的开创者是宗炳,他同时也是山水画理论的集大成者,至今人们还记得他写的《画山水序》。他倡导的“畅神写意”说,无疑是在此前顾恺之“以形写神”的基础上向前迈出了一大步。山水画的独立发展,其前提是山水美的独立,山水必须成为有意义的存在,必须走进人的精神世界,从而成为一种意象和意境,成为人的精神的拓展和延伸。这一切,又直接依赖于当时盛行的般若思想、佛性论和心性论对人心的洗礼,特别是禅学风气对人精神世界的熏习。
As an integral part of Chinese literature and art, calligraphy and painting in the late Wei and Jin Dynasties also entered the artistic consciousness. As far as its development goes, the calligraphy in the late Han and Wei Dynasties took the lead to art consciousness. The portraits on the occasion of the Wei and Jin Dynasties were fully developed, while the landscape paintings expressing natural beauty during the Jin and Song dynasties also ushered in the great development of independence and development situation. Zong Bing, the pioneer of landscape painting, is also a master of landscape painting theory. So far, people still remember his painting “landscape painting.” He advocated “freehand brushwork” and said that it undoubtedly took a big step forward based on Gu Kaizhi’s “Describing God”. The independent development of landscape painting, the premise is the independence of landscape beauty, landscape must become a meaningful existence, must enter the spiritual world, so as to become an image and mood, as people’s spirit expansion and extension. All these are directly dependent on the prevailing Prajnaparamita, Buddhism and xinxing theory of baptism of the people, especially the doctrine of the Zen spirit of the human world of smoked.