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含蓄美是我们民族文化艺术的闪光点之一,无论是擅于抒情、含蓄蕴藉的诗歌,还是注重写意,渗透着儒、道、释各家哲理和审美观的绘画,或是雕塑、造园、古建筑乃至音乐、散文、书法、楹联等几乎所有的中国艺术都内蕴着含蓄美的“芬芳”。也正是这含蓄深沉之美,与豪迈、奔放、坚毅、悲壮美等一起,凝成了华夏艺术的精髓,造就了熠熠生辉于世界文明宝库中的东方美。从国画看含蓄美宋徽宗赵佶曾以“踏花归去马蹄香”为题招考画工,众考生都围着“马”、“花”转,唯一人独辟蹊径,只画了数只追着马蹄飞舞的蝴蝶,画中全无一花一瓣。然而,这极其隐喻含蓄的表现手法却最精当也最令人叹绝地表达了“马蹄香”的
Implicit beauty is one of the highlights of our national culture and art. Whether it is good at expressing emotion and implied poetry, or paying attention to freehand writing, it permeates the philosophical and aesthetic paintings of Confucianism, Taoism and Buddhism, or sculptures and gardens In ancient China, almost all Chinese art, including music, prose, calligraphy and couplets, contains the “fragrance” of subtle beauty. It is also this implicit deep beauty, and bold, unrestrained, perseverance, tragic beauty together, condensed into the essence of Chinese art, created a sparkling world treasure in the Oriental Beauty. Seeking from the traditional Chinese painting Huizong Zhao Zeng used “Tiaoshuizhizhixiang” as an examiner, all the candidates around the “horse”, “flower” turn, the only one to find their own way, only drew a few chasing horseshoe fluttering The butterfly, the painting without a flower. However, this extremely metaphorical subtle expression of the most precise and most intimidating expression of “Horseshoe”