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在中国,文字书写是重要的艺术形式,这使它与西方的艺术分类判然有别,也使书法与绘画的关系成为中国美学及艺术史上最重要的问题之一。目前,学术界对此问题的关注,一般集中于中国历史的后半段,即以张彦远在《历代名画记》中提出书画“同源”、“同体”、“同法”为起点,探讨中唐至明清时期中国文人艺术的多元会通问题,而对中国社会早期的观念和实践准备少有置喙。从历史看,中国书法与绘画一体关系的形成,奠基于先秦至两汉时期的艺术实践,河图洛书、伏羲画卦则为两者的融合提供了哲学乃至神学上的支持。换言之,书画一体作为中国美学与艺术的母题之一,其影响力并不局限于中古以降,而是在中国艺术史与美学史中保持了纵贯始终的连续性。理清这一源流,有助于将中国艺术史纳入到一个前后一贯的历史进程中。
In China, writing is an important art form, which distinguishes it from Western art classification. It also makes the relationship between calligraphy and painting one of the most important issues in the history of Chinese aesthetics and art. At present, the academic community’s attention to this issue generally focuses on the second half of Chinese history, that is, Zhang Yanyuan put forward his paintings and calligraphy “homologous”, “same body”, “same law” "As a starting point to explore the multi-media conference of Chinese literati art from the mid-Tang to the Ming and Qing Dynasties. However, there is little to be said of the early concept and practice of Chinese society. From a historical perspective, the formation of the integrated relationship between Chinese calligraphy and painting is based on the artistic practice from the pre-Qin period to the Western and Eastern Han Dynasties. Hetuochu and Fuxi’s paintings provide the philosophical and theological support for the integration of the two. In other words, as one of the motifs of Chinese aesthetics and art, the integration of calligraphy and painting is not limited to the influence of the Middle Ages. Instead, it maintains the continuity of continuity in the history of Chinese art and aesthetics. To clarify this source can help to include the history of Chinese art in a consistent historical process.