摘要
"媚"是中国绘画美学视野中的重要审美范畴,它既代表着画家的美学旨趣和审美品格,也体现出画体规范转变和艺术追求的时代潮流。中国绘画美学视野中的"媚"论,大致引入于魏晋南北朝,升格于唐宋,深化于元明清。媚画生成在于用笔消散轻柔,不可太劲挺强健;用墨黑多于白、浓多于淡、湿多于干以及用嫩墨,由烘、染、破墨等法出之;"媚"画多用"兰叶描类"。"媚"画主阴柔美、形式美,媚画流动飘洒,富有动势之美,一定意义上表现出画家超越呆板、枯竭、臃滞的生命追求。
＂mei＂ is one of the most important aesthetic category in the aesthetic visual field of Chinese painting, it not only represents the aesthetic purport and aesthetic character of painters, but also reflects the transition of stylistic norms in painting and tendency of the day that art pursues. The development of the Chinese painting theory criticism on ＂mei＂ go through three stages： In the Wei Jin and the Northern and Southern Dynasties, ＂mei＂ was introduced to the painting Criticism and further substantiated and developed in the Yuan, Ming and Qing Dynasty. The painting of ＂mei＂ depended on dissipating and gentle painting Skills , not on strong and forceful painting Skills. Ink controlling is more black than white, more thick and pale, more moist than dry. The aesthetic characteristic of ＂mei＂ painting is outwardly submissive but inwardly evil - hearted which displays the painters to surmount the stereotypical life pursue.
出处
《兰州学刊》
CSSCI
2008年第2期161-162,160,共3页
关键词
绘画关学
媚
渊源流变
生成机制
美学品格
aesthetic painting
mei
rheology of origin
production mechanism
aesthetic character
