摘要
"气韵生动"是中国画根本艺术精神的集中体现,反映了自古以来中国画创作主体的审美追求,具有非常典型的民族文化心理特征。谢赫的《古画品录》具体讨论了"气韵生动"这一美学概念与中国古代绘画艺术发展历史的关系,认为"气韵生动"所揭示的是中国画追求的最高审美境界。它既适用于人物画,同时也适用于山水画;既可以用来指表现对象的内在神韵,也可以用来指创作主体的精神品格。因此,"气韵生动"说对中国文人画的发展和完善,起到十分重要的作用。
Lifelikeness is concrete embodiment of art spirit of Chinese painting, also with typical Chinese cultural psychology, which reflects aesthetic pursuit by the artists since the ancient times. Xiehe’s a record of comments on ancient painting fully discussed the aesthetic concept, namely, lifelikeness and its relationship with the Chinese ancient painting history development, concluded that what lifelikeness expressed was the peak of aesthetic realm for the Chinese painting. Lifelikeness is not only fit for the figure painting but also for the landscape painting, not only expresses inner likeness, but also refers to creation body’s spiritual character. Therefore, lifelikeness plays an important role in the developing and perfection of the humanities painting.
出处
《保定学院学报》
2010年第2期113-115,共3页
Journal of Baoding University
关键词
中国画
气韵生动
审美理想
Chinese painting
lifelikeness
aesthetic pursuit
