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中国艺术的自觉开始于审美主体建构的完善,而这一过程的关键是对于自然美的认识,自然美的发现又是人与自然内在沟通的结果。正如宗白华先生所说:“晋人向外发现了自然,向内发现了自己的深情。山水虚灵化了,也情致化了。陶渊明、谢灵运这般人的山水诗那样的好,是由于他们对于自然有那一股新鲜发现时身入化境浓酣忘我的趣味。”在这里“自然”成了“深情”化的自然,“自己”到了“身入化境”的“忘我”之境,从而,诗意的自然和深情的自己合二为一。等到元人“写胸中逸气”时的“有我之境”,恰恰是透过现实自我于自然山水和笔墨之间“有我”的深情表现。我们关注的传统写意画中的诗性表述正是源于艺术自觉中人和自然的关系在艺术形式中的渗透,所表明的就是一种寄寓自然的“深情”在笔墨中的抒发。这一过程有赖于诗意的自然和艺术的主体在人与自然内在沟通中实现的互动——诗意的自然是艺术主体的发现,主体又在自然中引发审美的自觉。这又会使得自然的深情和诗意在人与自然的沟通中发生新的变化,有了新的内涵。
The consciousness of Chinese art begins with the perfection of the construction of aesthetic subject, and the key of this process is the cognition of natural beauty. The discovery of natural beauty is the result of the inner communication between man and nature. As Mr. Zong Baihua said: “The Jin people found out of nature, inward discovery of their affection .Silk is virtual, but also of love .Tao Yuanming, Xie Lingyun such as landscape poetry so good, is Because of their deep fascination with the fresh discovery of nature, ”Nature“ has become ”affectionate“ nature, ”self“ to the ”forgetfulness“ of ”emptiness“ Thus, poetic nature and affectionate oneself together. It is precisely through the realistic self that I have the affectionate expression of ”having me“ between the natural landscapes and the brush and ink when the Yuanren ”Write the Emotions in the Chest". The poetic expression in the traditional freehand drawing that we are concerneding is precisely due to the infiltration of the relationship between man and nature in the art form in the artistic consciousness. What is expressed is a kind of affectionate expression of affection in nature. This process depends on the interaction between poetic nature and the subject of art in the inner communication between man and nature - the poetic nature is the discovery of the subject of art, and the subject leads to the aesthetic consciousness in nature. This in turn will make the natural affection and poetic new changes in the communication between man and nature, has a new connotation.