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盛唐之时,世尚轻肥。在艺术审美上,盛唐绘画以丰腴为美。无论是石窟的佛雕、寺院的宗教人物画像,还是宫廷仕女,甚至鞍马之图,无不体态丰满,充满着丰厚的肌肤肉感。然而在这样的审美背景下,杜甫通过对盛唐鞍马绘画名家韩干的批评,策反了一场反对丰肥崇尚骨感的审美批判。杜甫审美思想的形成,无不与他的人生经历以及民胞物与的伟大情怀息息相关。他对盛唐画风进行彻底的颠覆与消解,实质上正展现了杜甫在艺术审美中指证现实的理性与睿智。
When the Tang Dynasty, the world is still light fat. In the artistic aesthetic, the painting of the Tang Dynasty is rich and beautiful. Whether it is Buddhist sculptures in the grottoes, portraits of religious figures in monasteries, or court ladies or even pommel horses, all of them are full and full of rich skin sensations. However, under such aesthetic background, Du Fu instructed Han Kang, a painter in the Tang Dynasty, to criticize her, criticizing an aesthetic criticism of Feng Feng’s advocating the sense of bones. The formation of Du Fu’s aesthetic thoughts is closely related to his life experience and the great feelings of people and things. He thoroughly subverts and digests the style of the Tang Dynasty, and in fact he is showing the reason and wisdom of Du Fu in testimony of the aesthetic reality of art.