插图之“韵”
摘要
插图艺术不仅是视觉的展示，更是文化的浓缩。插图先天即具有与文本不可分的特性；而在我看来，文本(文章)这“不朽之盛事”正是文化的精髓体现。插图与文一体的特性使它既受到限制，又获得文学的滋养；它不能仅满足于绘画层面的精彩，还应追求文化层面的提升。在此理想追求的基础上，“韵”带着必然性出现了。插图创作理论中的诸多论涉，都与其有着微妙间接的联系。插图作品中从具象到意象、从视觉展现到精神境界的拓展与统一过程，就是“韵”的生发与升华过程。
Not only is the illustration art the visual exhibition, but also the concentration of culture. Illustrations have a innate trate which is intimate with the text. In my opinion, the text (literature) which is served as the perpetual feat just means the exhibition of culture essenc-
e.lt is the fact that illustrations are restrained by the trait-pictures
are integrated with the literature, at the same moment however.they obtained the nourishment from the great works. To illustration, the e-xcellence in the field of painting is less important than the cultural promotion. Is, spirit, during which the necessicity existed, emerged fro-m the foundation that is pursued for the ideal. The spirit is an extravagant need without which an illustration at the critical plot of the boo-k can be damaged. There are some subyle relationship between the spirit and some theory of illustration. The process, which from objectivity to abstraction,from the visual exhibition to the spiritual display, is the road to spirit that appears, grows and flowers.
Not only is the illustration art the visual exhibition, but also the concentration of culture. Illustrations have a innate trate which is intimate with the text. In my opinion, the text (literature) which is served as the perpetual feat just means the exhibition of culture essenc-
e.lt is the fact that illustrations are restrained by the trait-pictures
are integrated with the literature, at the same moment however.they obtained the nourishment from the great works. To illustration, the e-xcellence in the field of painting is less important than the cultural promotion. Is, spirit, during which the necessicity existed, emerged fro-m the foundation that is pursued for the ideal. The spirit is an extravagant need without which an illustration at the critical plot of the boo-k can be damaged. There are some subyle relationship between the spirit and some theory of illustration. The process, which from objectivity to abstraction,from the visual exhibition to the spiritual display, is the road to spirit that appears, grows and flowers.
引文
康定斯基：《艺术中的精神》(中国人民大学出版社2003年10月第1版)
吕澎：《溪山清远——两宋时期山水画的历史与趣味转型》(中国人民大学出版社2004年4月第1版)
徐复观：《中国艺术精神》(华东师范大学出版社2001年12月第1版)
刘绍瑾：《庄子与中国美学》(广东高等教育出版社1989年4月第1版)
宗白华：《艺境》(北京大学出版社1987年6月第1版)
袁济喜：《六朝美学》(北京大学出版社1989年8月第1版)
张晶 白振奎 刘洁：《中国古典诗学新论》(北京广播学院出版社2002年12月第1版)
水天中 郎绍君：《二十世纪中国美术文选》(上海书画出版社1999年11月第1版)
裘沙：《陈洪绶研究——时代、思想和插图创作》(人民美术出版社2004年2月第版)
余虹：《艺术与精神》(社会科学文献出版社2000年12月第1版)
吕澎：《溪山清远——两宋时期山水画的历史与趣味转型》(中国人民大学出版社2004年4月第1版)
徐复观：《中国艺术精神》(华东师范大学出版社2001年12月第1版)
刘绍瑾：《庄子与中国美学》(广东高等教育出版社1989年4月第1版)
宗白华：《艺境》(北京大学出版社1987年6月第1版)
袁济喜：《六朝美学》(北京大学出版社1989年8月第1版)
张晶 白振奎 刘洁：《中国古典诗学新论》(北京广播学院出版社2002年12月第1版)
水天中 郎绍君：《二十世纪中国美术文选》(上海书画出版社1999年11月第1版)
裘沙：《陈洪绶研究——时代、思想和插图创作》(人民美术出版社2004年2月第版)
余虹：《艺术与精神》(社会科学文献出版社2000年12月第1版)