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董其昌通过诗意的昭示,使他突破当下情境的限制和历史空间对身心的束缚,将洞照之眼一步步挖通,将体悟的境遇不断扩大。如果没有诗意的逻辑架构,本体与外在形式便不可避免地因有所遮蔽而不能显现,绘画精神所揭不的内在之境就会大为减弱。因为绘画不仅仅有可被看到的部分,亦有可不被看到而能被内视到的部分,同时亦有可被体悟而呈现的部分,这三者之中,尤以最后一者为精神之所在,这是接通内外的最为本质的部分。定《娶妇图》为《潇湘图》,通过诗意开启,将精神存在的历史归依一直推进到被认为正统之祖之一的舜帝时代,精神深处的包容性也就相当
Through his poetic manifestations, Dong Qichang enabled him to break through the constraints of the current situation and the restraint of mind and body in the historical space. He dug the eye of Dong Zhao step by step and expanded the experience of comprehending it. Without the poetic logical structure, the inner body and the external form inevitably can not appear due to being covered, and the inner environment exposed by the spirit of painting will be greatly weakened. Because the painting is not only the part that can be seen, but also the part that can not be seen and can be seen inside, and the part that can be seen and presented. Especially the last one is Spirit is where this is the most essential part of getting inside and outside. Set “married woman map” as “Xiaoxiang map”, through the poetic opening, the history of the existence of the spirit has been pushed forward to one of the ancestors is considered to be the orthodox Emperor Shun Emperor era, the spirit of deep tolerance is also quite