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魏晋社会思想下的山水萌芽东汉后期,社会混乱,仕人逐渐对大一统的政权丧失信心,儒学因其教条、烦琐等内在缺陷,一度走向颓废。此时,寄情自然、不求仕进的佛道思想在魏晋盛行。山水诗繁盛,山水画亦随之出现。“图绘者莫不明劝诫,著升沉,千载寂寥,披图可鉴”(谢赫《画品》),可见即使在佛道思想浓郁的六朝,绘画更多的还是体现带有儒学意味的劝诫意义。因此,山水并未被大多数人所重:谢赫《绘画品录》中分别将山水画卓有成就的宗炳与王微排在末品与四品;另外,在六朝三个多世纪的进程中,山水画不仅没有改变其稚拙的画面,在六朝末至隋朝初期还一度出现停滞。
In the late Eastern Han dynasties, the society was in chaos and people gradually lost confidence in the unification of regimes. Confucianism was once decadent because of its inherent defects such as dogma and cumbersomeness. At this point, natural affection, not seeking the integrity of Buddhism in Wei Jin popular. Landscape poetry flourishes, landscape painting also appears. “Painters are unsubstantiated exhortations, ups and downs, thousands of loneliness, Phi can be Kam ” (Sheikh “painting”), even in the rich Buddhist thought of the Six Dynasties, the painting still more with or with Admonishing Significance of Confucianism. Therefore, the landscape has not been taken seriously by most people: Zong Bing and Wang Wei, both of whom made outstanding achievements in landscape painting in Sheikh’s Catalog of Paintings, are ranked in the last product and the fourth product. In addition, during the more than three centuries of the Six Dynasties , The landscape painting not only failed to change its naive picture, but also stagnated once in the late Six Dynasties and early Sui Dynasty.