摘要
为了探讨"墨分五色"的认识原型,运用原认知结构理论,对中国画审美之贵"墨分五色"这一价值观的哲学基础进行了分析,并由此得出"运墨而五色具,谓之得意"这一文人画笔墨价值观的核心,乃是与道相配的"本色"或"正色"文化心理在笔墨变化上的体现。换言之,古人不是感觉不到自然界丰富多彩的颜色变化,而是"道""德"意识左右着他们的文化心理,并使之主动放弃甚至蔑视五色之外的其他颜色。经过一千多年文人画的发展、五色观念无疑已经使中国画的用色形成了自己独特的民族特色。21世纪是中国画变革的一个关键时期,因此,从理论上认识五色观念的文化本源,对于变革中的中国画如何保持自己的民族特色无疑具有重要的意义。
Based on metacognitional theories, the philosophical basis of the Chinese ink painting＇s aesthetical standard was explored and tried to convey why ink paintings are evaluatedd by Five Basic colors. It is conclulded that this core value judgement just reflects artists＇ cultural psycological pursuit of the root color. In other words, our ancient artists deliberately give up even neglect other colors not because they can not sense the rich varieties of other colors in nature but because they are predominated by their moral conscience. Such evaluation standard undoubtedly has embodied unique Chinese characteristics after more than a thousand years＇development. The 21 st century will be a critical era in the history of China＇s reform.Therefore it is of great significance to identify this national aesthetic origins. Only by doing this can we create high standard works with unique cultural connotations.
出处
《西北大学学报（哲学社会科学版）》
CSSCI
北大核心
2008年第6期I0014-I0017,共4页
Journal of Northwest University：Philosophy and Social Sciences Edition
关键词
墨
五行
五色
认识原型
Chinese Ink, WuXing Philosophy, Five Basic Colors cognitional prototype
