漢代地理圖像與中國山水畫之誕生
發(fā)布時間：2018-08-28 18:15
【摘要】：魏晉以降,中國山水藝術開啟了一個逐步"向內(nèi)轉(zhuǎn)"的通道,經(jīng)中唐至宋元,最終蛻變?yōu)榧內(nèi)恍撵`的映像形式。但是,就中國山水畫的起源看,它仍奠基于對國家地理山川的實景描繪。認知而不是審美,寫實而不是寫意,構(gòu)成了這門藝術得以生成的始點。有漢一代,是中國上古地理圖像繪制的成熟期,也是實景圖繪向山水藝術的轉(zhuǎn)進期。這一時代的地理圖像,以宏闊的天下視野,將國家地理、山川風物一網(wǎng)打盡,為后世的山水畫創(chuàng)作確立了基本范式和格局;其經(jīng)驗與想象交并的方式,則為山川實景向?qū)徝辣磉_的生成提供了原初背景。據(jù)此,考察漢代地圖與中國山水畫的源流關系,其價值有三:一是確證寫實之于中國山水畫的本源地位,借此可以將山水畫納入到一個縱貫國史的圖像史序列;二是確認漢代上承先秦地圖史、下啟魏晉山水史的獨特位置,將其視為從地理認知向山水審美遞變的轉(zhuǎn)折點;三是將山水藝術視為一種廣義的地理美學,借此對宋元以來山水畫日益虛靈化的取向做出校正。
[Abstract]:In Wei and Jin dynasties, Chinese landscape art opened a gradual "inward" channel, through the mid-Tang Dynasty to the Song and Yuan dynasties, the final transformation into a pure mind image form. However, as far as the origin of Chinese landscape painting is concerned, it is still based on the realistic landscape description of National Geographic. Cognition rather than aesthetics, realism rather than freehand brushwork constitute the beginning of this art. Han Dynasty is the mature period of Chinese ancient geographical image drawing, and also the stage of the development of landscape painting. The geographical images of this era, with a broad view of the world, all of the national geography, mountains and rivers, the creation of landscape painting for future generations to establish a basic paradigm and pattern; its experience and imagination of the way to merge, It provides the original background for the formation of the aesthetic expression of the realistic scenery of the mountains and rivers. According to this, the relationship between the map of Han Dynasty and Chinese landscape painting has three values: first, it confirms the original position of realistic painting in Chinese landscape painting, so that landscape painting can be brought into an image history sequence of vertical history of China; The second is to confirm the unique position of the history of landscape and landscape in the Han Dynasty, and to regard it as the turning point from geographical cognition to landscape aesthetics, and the third is to regard landscape art as a kind of broad geographical aesthetics. In this way, the landscape painting since the Song and Yuan dynasties increasingly virtual orientation to make a correction.
【作者單位】： 北京師范大學哲學學院;
【基金】：2015年度中央高�；究蒲袠I(yè)務費專項資金資助項目“傳承與弘揚中華美學精神研究”(項目編號:SKZZB2015039)階段性成果之一 北京舞蹈學院人才強教特聘客座專家計劃項目(2016年)“中國古典樂舞的早期形式與哲學生成”階段性成果之一
【分類號】：J212;K928.6
，
本文編號：2210204
[Abstract]:In Wei and Jin dynasties, Chinese landscape art opened a gradual "inward" channel, through the mid-Tang Dynasty to the Song and Yuan dynasties, the final transformation into a pure mind image form. However, as far as the origin of Chinese landscape painting is concerned, it is still based on the realistic landscape description of National Geographic. Cognition rather than aesthetics, realism rather than freehand brushwork constitute the beginning of this art. Han Dynasty is the mature period of Chinese ancient geographical image drawing, and also the stage of the development of landscape painting. The geographical images of this era, with a broad view of the world, all of the national geography, mountains and rivers, the creation of landscape painting for future generations to establish a basic paradigm and pattern; its experience and imagination of the way to merge, It provides the original background for the formation of the aesthetic expression of the realistic scenery of the mountains and rivers. According to this, the relationship between the map of Han Dynasty and Chinese landscape painting has three values: first, it confirms the original position of realistic painting in Chinese landscape painting, so that landscape painting can be brought into an image history sequence of vertical history of China; The second is to confirm the unique position of the history of landscape and landscape in the Han Dynasty, and to regard it as the turning point from geographical cognition to landscape aesthetics, and the third is to regard landscape art as a kind of broad geographical aesthetics. In this way, the landscape painting since the Song and Yuan dynasties increasingly virtual orientation to make a correction.
【作者單位】： 北京師范大學哲學學院;
【基金】：2015年度中央高�；究蒲袠I(yè)務費專項資金資助項目“傳承與弘揚中華美學精神研究”(項目編號:SKZZB2015039)階段性成果之一 北京舞蹈學院人才強教特聘客座專家計劃項目(2016年)“中國古典樂舞的早期形式與哲學生成”階段性成果之一
【分類號】：J212;K928.6
，
本文編號：2210204
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