论苏轼文人画思想的审美取向
摘要
苏轼是北宋著名的文学家、艺术家。在诗文、书画方面无所不精,他在前人的基础之上,独辟蹊径,以自身丰富的艺术实践,阐明了他独到的创新思维理念。这些思想既有理论高度,又有理论深度,可以说是我国古代绘画理论的瑰宝。苏轼关于文人画的理论在中国绘画史上开辟了一条特殊的道路,把文人画理论系统而全面地阐发出来,开创了文人画的新时代。影响企及北宋及其以后的中国画坛,是同时代当之无愧的文人画主将。正因为苏轼的文人画理论具有极其特殊意义,本文意在从他及其文人画理论入手,希冀通过对他的研究,尽可能能把抽象的问题具体化、清晰化。
本文对苏轼的思想进行了多方面分析与总结,通过对他绘画观的解析,找出了两者必然的、密切的联系,并力图对此做一些新的阐释。本文主要包括四大部分(绪论除外):
第一部分,对苏轼个人经历的简单回顾与人格精神的分析。
第二部分,苏轼文人画审美取向的思想基点。要想对苏轼文人画审美思想进行全面、客观的分析,必须将考察的视镜拓展到历史发展的广阔背景中去。这一部分是为阐释苏轼文人画思想的审美价值所做的铺垫工作。
首先,对六朝到唐、五代的绘画观的历史流变做了简单梳理,以期把握苏轼文人画观形成的思想渊源。其次,研究苏轼在中国美学史上的典型意义,突出表现在他融合了儒、道、禅的思想,他的思想影响了他的文人画观。
第三部分,对苏轼文人画审美体系的内涵探析,是本文的重点,分四个部分论述。这一部分将围绕苏轼的文人画理论来展开具体阐释。
论题一,绘画审美的升华。苏轼强调的“得之于象外”,达到了“象外精神言外意”的境界,并达到传神的艺术效果;论题二,诗与画的关系。苏轼的“诗画一律”理论,使中国画原本具有的优秀传统——“诗情画意”得到了更大限度地发挥;论题三,从理论到实践:绘画作品的艺术语言与表达。论题四,精神与品位的探求。苏轼的这一观点,是对高尚道德人格的阐释,从而使君子之画真正具备了超越性的文化形态;
以上这几个论题把苏轼的绘画观从理论到实践作了系统而全面的解析。
第四部分:分析和阐释了苏轼文人绘画理论对中国绘画发展的影响。这里简单分析了对同时代和元、明、清文人画,以及对当今中国画之影响。
总之,苏轼绘画思想呈现出的独特艺术主张,对元、明、清以及当代绘画美学思想发展有着不可磨灭的贡献。以他为首的文人画家以一种独特的艺术语言彰显了中国绘画的艺术价值及丰富的审美趣味。如今,虽然苏轼的时代已经距离我们相去甚远,可他的人格精神和艺术思想却深刻影响着后人。毋庸置疑,中国当今画坛已步入了一个新的历史时期,我们应该继承和发扬我国民族优秀的绘画传统,创造出与当今时代审美要求相适应的绘画作品。
Sushi is the famous Northern Song writers and artists. In the poems, paintings respect no competency, he left behind by their predecessors on the basis of revised to own rich literary and artistic practice, setting out his unique concept of creative thinking. Such thinking is not only the level of theory, theoretical depth there can be said that the theory of China's ancient painting in the treasure trove of treasures. Sushi literati painting on the theory in the history of Chinese painting created a special road, his theory of literati painting and comprehensive exposition out, and created a new era of literati painting. And the Northern Song Dynasty and its impact on the future rate of Chinese painting, contemporary well-deserved literati paintings owners. It is precisely because of the Sushi literati painting theory is extremely special significance, the paper only from him and his theory of literati painting start and hope through his research can abstract problems in a specific, clear of.
In this paper, Su Shi's thinking and his painting of a multifaceted analysis and the conclusion, through his painting of the analysis, identified the two inevitable, and close contacts, and trying to do something new this interpretation. This paper includes three parts (except Introduction):
The first chapter of the Su Shi's personal experience with a brief review of the spirit of the personality. This chapter is to explain Sushi thinking of painting work done to pave the way.
The second chapter: the focus of this paper, discussed in three parts. This is the focus of this chapter. First, the Six Dynasties to Tang, the Five Dynasties painting Historical Evolution of the concept of a brief order, with a view to grasp the concept of painting Sushi ideological formation of the historical origins. second, on Sushi in the history of the typical Chinese aesthetic significance, outstanding performance in his combination of Confucianism, Taoism and Buddhism's ideology, given Bolao way of thinking,
Finally, the literati painting Sushi ideology aesthetic value orientation is the main paper is the summary of the most important. This section will be carried out large number of specific ink to explain.
Thread 1: Painting Art aesthetic sublimation .Thread 2: Poetry and Painting: poetry and painting all .Thread 3: Explore grade and the spirit .Thread 4: paintings language of art and expression.
Subject to these paintings Sushi concept from theory to practice has done a systematic and comprehensive analysis.
In short, Sushi's ideological painting showing a profile of the unique characteristics of ancient Chinese paintings and contemporary aesthetic ideology is indelible contributions to development. He led the literati painters in a unique language of art, Chinese painting shows the artistic value and aesthetic interest Implication of the rich. Today, the era of Sushi far cry from the distance we can be a great personality, and he thought it through his painting and calligraphy and painting works on a profound impact on future generations. There is no doubt that China has entered the contemporary painting, a new period of history, we should inherit and carry forward our nation's outstanding traditional painting, created meet the current needs of the development of the times paintings.
本文对苏轼的思想进行了多方面分析与总结,通过对他绘画观的解析,找出了两者必然的、密切的联系,并力图对此做一些新的阐释。本文主要包括四大部分(绪论除外):
第一部分,对苏轼个人经历的简单回顾与人格精神的分析。
第二部分,苏轼文人画审美取向的思想基点。要想对苏轼文人画审美思想进行全面、客观的分析,必须将考察的视镜拓展到历史发展的广阔背景中去。这一部分是为阐释苏轼文人画思想的审美价值所做的铺垫工作。
首先,对六朝到唐、五代的绘画观的历史流变做了简单梳理,以期把握苏轼文人画观形成的思想渊源。其次,研究苏轼在中国美学史上的典型意义,突出表现在他融合了儒、道、禅的思想,他的思想影响了他的文人画观。
第三部分,对苏轼文人画审美体系的内涵探析,是本文的重点,分四个部分论述。这一部分将围绕苏轼的文人画理论来展开具体阐释。
论题一,绘画审美的升华。苏轼强调的“得之于象外”,达到了“象外精神言外意”的境界,并达到传神的艺术效果;论题二,诗与画的关系。苏轼的“诗画一律”理论,使中国画原本具有的优秀传统——“诗情画意”得到了更大限度地发挥;论题三,从理论到实践:绘画作品的艺术语言与表达。论题四,精神与品位的探求。苏轼的这一观点,是对高尚道德人格的阐释,从而使君子之画真正具备了超越性的文化形态;
以上这几个论题把苏轼的绘画观从理论到实践作了系统而全面的解析。
第四部分:分析和阐释了苏轼文人绘画理论对中国绘画发展的影响。这里简单分析了对同时代和元、明、清文人画,以及对当今中国画之影响。
总之,苏轼绘画思想呈现出的独特艺术主张,对元、明、清以及当代绘画美学思想发展有着不可磨灭的贡献。以他为首的文人画家以一种独特的艺术语言彰显了中国绘画的艺术价值及丰富的审美趣味。如今,虽然苏轼的时代已经距离我们相去甚远,可他的人格精神和艺术思想却深刻影响着后人。毋庸置疑,中国当今画坛已步入了一个新的历史时期,我们应该继承和发扬我国民族优秀的绘画传统,创造出与当今时代审美要求相适应的绘画作品。
Sushi is the famous Northern Song writers and artists. In the poems, paintings respect no competency, he left behind by their predecessors on the basis of revised to own rich literary and artistic practice, setting out his unique concept of creative thinking. Such thinking is not only the level of theory, theoretical depth there can be said that the theory of China's ancient painting in the treasure trove of treasures. Sushi literati painting on the theory in the history of Chinese painting created a special road, his theory of literati painting and comprehensive exposition out, and created a new era of literati painting. And the Northern Song Dynasty and its impact on the future rate of Chinese painting, contemporary well-deserved literati paintings owners. It is precisely because of the Sushi literati painting theory is extremely special significance, the paper only from him and his theory of literati painting start and hope through his research can abstract problems in a specific, clear of.
In this paper, Su Shi's thinking and his painting of a multifaceted analysis and the conclusion, through his painting of the analysis, identified the two inevitable, and close contacts, and trying to do something new this interpretation. This paper includes three parts (except Introduction):
The first chapter of the Su Shi's personal experience with a brief review of the spirit of the personality. This chapter is to explain Sushi thinking of painting work done to pave the way.
The second chapter: the focus of this paper, discussed in three parts. This is the focus of this chapter. First, the Six Dynasties to Tang, the Five Dynasties painting Historical Evolution of the concept of a brief order, with a view to grasp the concept of painting Sushi ideological formation of the historical origins. second, on Sushi in the history of the typical Chinese aesthetic significance, outstanding performance in his combination of Confucianism, Taoism and Buddhism's ideology, given Bolao way of thinking,
Finally, the literati painting Sushi ideology aesthetic value orientation is the main paper is the summary of the most important. This section will be carried out large number of specific ink to explain.
Thread 1: Painting Art aesthetic sublimation .Thread 2: Poetry and Painting: poetry and painting all .Thread 3: Explore grade and the spirit .Thread 4: paintings language of art and expression.
Subject to these paintings Sushi concept from theory to practice has done a systematic and comprehensive analysis.
In short, Sushi's ideological painting showing a profile of the unique characteristics of ancient Chinese paintings and contemporary aesthetic ideology is indelible contributions to development. He led the literati painters in a unique language of art, Chinese painting shows the artistic value and aesthetic interest Implication of the rich. Today, the era of Sushi far cry from the distance we can be a great personality, and he thought it through his painting and calligraphy and painting works on a profound impact on future generations. There is no doubt that China has entered the contemporary painting, a new period of history, we should inherit and carry forward our nation's outstanding traditional painting, created meet the current needs of the development of the times paintings.
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