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中国画的形和神的讨论在中国画发展美学史上有重要意义。他们的探讨实际也是中国画乃至中国哲学的探讨。其中,以顾恺之的“形神论”最为有名。在晋代,人内在精神上追求解放,外在放浪形骸,内在追求个性的性灵自由。这种具有审美意义的生存方式,在绘画作品中自然涉及美术作品更注重内在的精神,外在的形已经不具有很重要的意义。可以这么认为,形和神都已经不具有很重要的意义,艺术的本质善才是主旨。一、顾恺之形神论
The discussion of the form and the god of Chinese painting is of great significance in the history of the development of Chinese painting aesthetics. Their discussion is actually the exploration of Chinese painting and even Chinese philosophy. Among them, Gu Kaizhi’s “God of the most” famous. In the Jin dynasty, people pursued the spirit of internal liberation, the external waves, and the inherent spiritual freedom of personality pursuit. This kind of aesthetic means of subsistence is more concerned with the intrinsic spirit in the art of painting, and the external form has no significant meaning. It can be said that neither shape nor God has a very important meaning, and the essence of art is the essence. First, Gu Kai of theism