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童心、童趣有一种纯真天然的诗意,而纯粹、本真和澄明则是其中的要素,在此不妨称之为童真诗意。童真诗意既是丰子恺的生活态度,也是他的美学观点,是他进行艺术创作的重要方法。童真诗意直接的文艺理论来源,应该是明代李贽(一五二七—一六○二)的“童心说”。童心讲究的是儿童视觉,无功利地看事物,讲究儿童心理,取其天然纯真的本性状态。童真诗意又含有对成长的记忆,所以将丰子恺绘画中的学生相与儿童相归为一类来论述,共计约五百三十五幅。这类画在丰子恺绘画中占据重要的位置,是其绘画艺术出色的代表。描写儿童生活和学生生活,也是丰子恺对传统绘画只描写古人的一个大丰子恺瞻瞻底梦·第二夜1926
Childlike innocence, childlike innocence has a purely natural poetic, and pure, true and clear is one of the elements, which may wish to call innocence poetic. Poetic innocence is not only Feng Zikai’s attitude to life, but also his aesthetic point of view, is an important method of his artistic creation. The direct source of literary theory of the poetic innocence should come from the “innocence theory” of Li Xun (1527-1660) in the Ming Dynasty. Childlike focus is children’s visual, non-utilitarian to see things, pay attention to children’s psychology, to take its natural state of innocence. Childlike poeticness also contains a memory of growth, so the discussion of Feng Zikai’s drawing of pupils and children into one category is for discussion, for a total of about five hundred and thirty-five pieces. Such paintings occupy an important position in Feng Zikai’s painting and are excellent representatives of his painting art. Description of children’s lives and student life, but also Feng Zikai on traditional painting only describes the ancients a big Fengzi Kai Zhanzitan dream · the second night 1926