摘要
宋元之际山水画曾出现了一次重大的转型。以禅宗影响为透视角度,分析此次山水画转型中的题材和审美境界问题,可以得出三点结论,即:描绘题材变得平淡;从真实静谧的审美境界中拓展出虚幻静寂的审美境界;强调画家应通过创作行为体道并在此基础上使画面的真实感大大减弱。
A significant transformation happened to Chinese mountain-and-water painting around the Song and Yuan Dynasties. An analysis of the change in subject and aesthetic realm from the perspective of Zen reveals： First, the subjects turned far from the madding crowd. Second, the sense of actuality in the aesthetic realm tended to be replaced by virtuality. Third, it was emphasized that artists should conduct self-cultivation like a devout religious believer through their painting behaviour and reduce the sense of materiality in their paintings.
出处
《扬州大学学报（人文社会科学版）》
北大核心
2011年第5期54-61,共8页
Journal of Yangzhou University(Humanities and Social Sciences Edition)
基金
教育部2010年人文社会科学研究青年基金项目(10YJC760107)
关键词
禅宗
山水画
审美境界
美术史
佛教艺术
Zen
Chinese mountain-and-water painting
aesthetic realm
history of arts
Buddhist art
