论文部分内容阅读
魏晋南北朝绘画中,“以形写神”的风尚十分明显,其形成得力于才性名理之学和魏晋玄学之风的积极推动;其理论依据及思想根源主要来自玄学新解中的老庄哲学;其在绘画中的艺术表现为:以“写”的形式展露对象之神韵,抒发画家之性情;“以形写神”得以实现的实践支撑,是“动与神会”的理念和实践。“动与神会”与“以形写神”的写意指向酝酿了唐代写意绘画的产生。
In the paintings of Wei, Jin, Northern and Southern Dynasties, the style of “writing God” is very obvious. Its formation can be effectively promoted by the science of the nature and the metaphysics of the Wei and Jin Dynasties. Its theoretical basis and ideological roots are mainly derived from the new metaphysics In the Lao-Zhuang philosophy; its art performance in the painting as: “writing ” in the form of revealing the charm of the object to express the artist’s temperament; “to describe God ” to achieve the practical support is Dynamic and God will “philosophy and practice. The freehand point of ”moving and god“ and ”writing God" brewed the creation of freehand brushwork in Tang Dynasty.