论文部分内容阅读
在中国:“文人绘画”是中国传统艺术中一个非常重要的概念,这个概念的内涵具有多重性,人们对于它的理解也产生了不同的分歧,当前的艺术研究对文人绘画的理解有几种认识:从中国的绘画发展的全局性来思考中国绘画内在品质,普遍认为文人绘画史是独立化的风格样式和风格体系,其艺术上的特质就是笔墨情趣为标准的,不求形式化的诗、书、画、印的结合体,还有一部分人们认为文人画就是从画家的身份为标准所定义的形式,认为文人画就是文人之画或士大夫的画来证明,还有一部分人是这样人为地划分,以董其昌的“南北宗论说”为基础,其就是文人画就是南宗画。而宫廷的士大夫的文人绘画是清中叶时期产生的中西合璧化艺术形式。但是帝王们因为个人的审美趣味和喜好不同,使得中国绘画开始的中西合璧的道路,出现了一定的文化断层,因为帝王们太过于保守。清代中期以后的士大夫的思想意识回到了传统,但是与唐宋元那种经典的绘画,雅致的审美相比较已经显得有点“萎靡”。而在这种断层和“萎靡”之中,去重新思考明代早期中国的油画对于在我们自身文化传统之中去重新审视中西艺术的差异无疑是具有很现实的意义。
In China: “literati painting” is a very important concept in traditional Chinese art. The connotation of this concept is multiplicity. People also have different opinions about it. The current understanding of literary painting by art research includes: Several Understandings: Reflecting on the Internal Quality of Chinese Painting from the Perspective of the Overall Development of Chinese Painting, It is generally accepted that the history of literati painting is an independent style of style and style, and its artistic trait is the standard of brushwork, without formality The combination of poetry, calligraphy, painting and printing, and some people think that literati painting is a form defined by the artist’s identity as a standard, that literati painting is a painting of a literati or a painting of a doctor, and that some people are This man-made division to Dong Qichang “North and South Sect Theory ” as the foundation, which is the literati painting is the South painting. The literati painting by court scholars is the art form of combining Chinese and Western produced during the period of the middle Qing Dynasty. However, due to their different personal aesthetic tastes and preferences, the emperors made a certain cultural clump on the road to Chinese and western origins of Chinese painting since the emperors were too conservative. After mid-Qing Dynasty, the literati’s ideology returned to the tradition, but compared with the classical paintings of the Tang, Song and Yuan Dynasties, the elegant aesthetic appeared to be somewhat “sluggish.” However, in this kind of fault and “sluggish ”, to rethink the early Ming Dynasty China’s oil painting is undoubtedly of great practical significance for us to reexamine the differences between Chinese and Western art in our own cultural traditions.