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中国古典文人山水画将自然作为情感投射的对象,因为文人画家们认为山水万物不仅有外在形态,而且也有其内在常理、性情;艺术不是机械模仿现象世界,而是要把握事物的本性。人也是一种自然,“人的自然”包括人具有精神世界、情感世界,并且在艺术实践中得以表达和实现。笔墨是文人绘画艺术凝合自然与艺术家情感的媒介。笔墨既状写自然山水的情态,又蕴藉着画者的情感、情绪。文人山水画的对自然的情感主义倾向,根源于以《易》为源头儒道合一为主干的传统文化,其核心精神强调顺应自然,“与天地合德”。情感本位的传统文化,造就了中国文人山水画这种情感主义的艺术。
Chinese classical literati landscapes take nature as the object of emotional projection because literati artists think that landscapes have not only external forms but also intrinsic internalities and temperaments. Art does not imitate phenomena world mechanically, but grasps the nature of things. Human beings are also a kind of nature. “Human nature” includes people with spiritual world and emotional world, and can be expressed and realized in artistic practice. Pen and ink is the medium of literati painting art that condenses the emotion of nature and the artist. Pen and ink both write the natural landscape modality, but also implied by the artist’s emotions, emotions. The emotional tendency toward nature by literati landscapes stems from the traditional culture of Confucianism and Taoism based on the unity of Confucianism and Taoism with “Yi” as the core. Its core spirit emphasizes conformity to nature, “harmony with the world”. The traditional culture of emotion-based culture has created the emotional art of Chinese literati landscape painting.