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明末清初,中国社会处于巨大的变革之中。这一变革显著地反映在当时的文化艺术当中,尤其在中国所特有的山水画之中。石涛作为四僧之一,其画风在当时可谓蔚然一新,故被称之变革者。其书画理论之代表作《画谱》(又称《苦瓜和尚话语录》)被称为当时美学理论之代表作,对后世有着极大的影响。本文将以《画谱·变化章》为例,探究石涛《画谱》当中之哲学思想,分析石涛中国画理论之思想渊源。
In the late Ming and early Qing dynasties, Chinese society was undergoing tremendous changes. This change is obviously reflected in the culture and art of that time, especially in the landscape paintings peculiar to China. Shi Tao, as one of the four monks, the style of painting can be described as a new at the time, it is called the loser. The masterpiece of his calligraphy and painting theory, “Paintings” (also known as “bitter melon words discourse”) is called the representative of the contemporary aesthetic theory, has a tremendous impact on future generations. This essay will take “the chapter of painting and change” as an example to explore the philosophical thinking in Shi Tao’s “Paintings” and to analyze the origin of Shi Tao’s Chinese painting theory.