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旨微于言象之外者,可心取于书策之内。 南朝宋·宗炳《画山水序》 风范气候,极妙参神,但取精灵,遗其骨法。若拘以体物,则未见精粹;若取之象外,方厌膏腴。可谓微妙也。 ——南齐·谢赫《古画品录》 就文人画发展的历史情境而言,尽管在学术枝节上有着诸多相关范畴、命题的纠葛与论辨,但在美学宏旨上统一致力于“象外之境”的普遍性追求,自文人士夫初涉绘事的魏晋南朝,就已在舆论上作出了深刻的张扬,并与此后各时期的艺术理论及学术思潮保持了内在的一致,及至明、清而灿然大盛。而且,既然以文人身份“涉事”,那么文人画就已不再是一个单纯的美术史问题,而是在文化现象的层面上,进入艺术、学术及哲学本体的讨论,从而也就具有了当代检索的价值和意义。
Purposes beyond the words of the person, can be taken from within the policy. Southern Song Zong Bing “painting landscape” style climate, wonderful, but take the wizard, leaving the bone method. If detained physical objects, then no essence; Delicate also. - Nan Qi · Sheikh “ancient paintings Catalog” on the development of the literati painting of the historical context, despite the academic branch has many related categories, propositions disputes and argument, but in the macro aesthetics of the macro commitment to “ The universal pursuit of the ”realm of the environment“, the Wei Jin and the Southern Dynasties who began to write stories about the literati and their husbands have made a profound publicity in public opinion and maintained an internal agreement with the art theories and academic trends in various periods since then. Clear and bright big Sheng. Moreover, since the literary ”incident", then the literati painting is no longer a simple question of art history, but at the level of cultural phenomena, into the art, academic and philosophical ontology of the discussion, which also has a The Value and Significance of Contemporary Search.