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法国汉学家于连(Francois Jullien)将他论述中国美学和艺术的文章结集出版,题目叫《赞美平淡》。在概括中国艺术的特征时,于连心目中的参照物是拜占庭时间的镶嵌画。即使在今天看来,这些镶嵌画依然给人以金碧辉煌的感觉。但是,中国艺术并不缺乏这种风格。宗白华将中国艺术的风格概括为两个极端:一个是错彩镂金,一个是芙蓉出水。如果说芙蓉出水接近天然平淡的话,那么错彩镂金就接近金碧辉煌了。中国文化向来推崇融合,不太追求极端。但是,这两种风格追求,几乎是独立发展,井水不犯河水。不过,在詹滢近来创作的绘画中,我们却看到了这两种风格的融合的趋势。
French sinologist Francois Jullien publishes his essay on Chinese aesthetics and art entitled “Plain Praise.” In summarizing the characteristics of Chinese art, Yu Lin’s reference is the mosaic of Byzantine time. Even today, these mosaics still give the feeling of magnificence. However, Chinese art does not lack this style. Zong Baihua summed up the Chinese art style as two extremes: one is a wrong color goldsmith, one is a lotus water. If Hibiscus water close to the natural dull words, then the wrong color goldfinch close to magnificent. Chinese culture has always respected fusion, not the pursuit of extreme. However, the pursuit of these two styles is almost independent development and well water does not commit any river water. However, in Zhan Ying’s recent paintings, we have seen the convergence of these two styles.