摘要
绘画创作的历史大致可分为两个阶段:第一阶段———绘画在上层建筑中没有真正意义上的独立地位,是宗教、道德、政治、军事等领域的图形化展现手段,起着媒介和工具作用。第二阶段———绘画自觉,形成了对自身的价值认同,取得了独立的审美地位,成为情感表达的重要平台。那么,两个阶段的过渡,或者说绘画自觉的萌发是在何时得以实现的呢?笔者认为:从目前的绘画史资料来看,真正意义上的北方草原民族的绘画自觉应在辽代,由契丹民族所完成。
History of drawing creation may be divided into two phases approximately: the first phase was that painting was nothing but displaying means of figures of religions, morals, politics, and military affairs and some other realms without its independent position in superstructure, which played a role of media and tools. The second phase was drawing consciousness, which had formed the recognition of values in itself, gained the independent aesthetic position, and become an important terrace to express sentiment. When did the transition of the two phases, or the sprout of drawing consciousness come into being? The author thinks that the real drawing consciousness should take place in the Liao Dynasty, finished by Qidan (khitan).
出处
《内蒙古师范大学学报（哲学社会科学版）》
2005年第3期126-128,共3页
Journal of Inner Mongolia Normal University：Philosophy and Social Sciences Edition
关键词
绘画自觉
审美地位
情感表达
草原民族
契丹民族
drawing consciousness
aesthetic position
sentimental expression
prairie nationalities
Qidan (khitan)
