摘要
离开中国的传统文化和历史背景,中国绘画将不成其为中国绘画;无视中国绘画固有的创造法则,对中国绘画的任何触摸和探讨,无异于缘木求鱼,徒劳无益。如果说西方绘画的哲学源头是"本体论",那么,中国绘画的哲学源头则是"和谐论"。"本体论"催生了西方绘画的"摹仿论","和谐论"催生了中国绘画的经典论题"意象论"。正是通过"意象",中国绘画的形象创造才实现了物我在主观与客观、感性与理性、形与神等诸多方面的完美和谐。
The creation of Chinese paintings will not exist without the traditional Chinese culture and history background. No correct understanding and appreciation will come out with the negligence towards the specific creation ways in Chinese paintings. It is generally admitted that the art of Western paintings originated from ＂ontology＂, which produces the＂theories of imitation＂ while the philosophical origin of Chinese paintings is ＂harmonization＂, which concentrates＂a spiritual image＂. It is by the pursuit of＂harmony of spirit with images＂ that the harmony of the painters＇ subjective spirit with the objective images they create and the perceptual senses with the rational conducts are realized.
出处
《延边大学学报（社会科学版）》
2007年第6期120-123,共4页
Journal of Yanbian University：Social Science Edition
基金
吉林省社会科学基金项目(2007091)
关键词
中国绘画
物我和
形似与神似的关系
Chinese painting
the harmony of painters＇ spirit with the images
the relation between spiritual imitation and image imitation
