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中国的山水画发展到元代可以说是达到了一个新的高峰。文人画的勃兴,元四家的山水之变使画坛在经历了唐的工整精致,宋的博大雄浑而进入一个抒情达意、宁静致远的境地。倪瓒的《渔庄秋霁图》以精致的韵致而放射出耀眼的光芒。身为元四家之一的倪瓒,绘画风格与前人迥然不同,明显有一种空寂,萧瑟的感觉,倪瓒是文人画的一大代表着,而文人画的思想核心又是禅宗思想,禅宗的艺术境界讲究“意”中国的艺术写意的基本倾向基本上和禅宗联系在一起,他在直觉状态中体验人生自由的境界,有一种凄清、萧条、淡漠、渺茫、惨淡的感觉,充满了对人生的孤独感。
The development of China’s landscape painting to the Yuan Dynasty can be said to have reached a new peak. The rise of the literati painting and the change of the landscape of the Yuan Dynasty Four have made the painting altar go through a neat and meticulous work of the Tang Dynasty. The magnificent Song of Song Dynasty entered into a state of expressing lyricism and tranquility. Ni 瓒 “Zhuang Qiu 霁 map” to exquisite charm and emit a dazzling light. As one of the four elements of Ni Zan, painting style and his predecessors are very different, obviously there is a feeling of silence, bleak, Ni Zan is a representative of the literati painting, and literati painting is the core of Zen thought, Zen pay attention to the state of art “Meaning ” The basic tendency of Chinese artistic freehand brushwork is basically linked with Zen. In his state of intuition, he experiences the realm of freedom of life with the feeling of desolation, depression, indifference, slimness and bleakness. Full of loneliness of life.