摘要
中国古代受风水文化背景影响的山水画家多少会有这样的潜意识:在经营位置中寻找最吉祥的表达,这样看来,布局章法中的"龙脉"也许是他们注定的选择。本文遵循从黄公望到董其昌再到王原祁的谱系脉络,在对三者作品的排序、比对中,寻找这一时期山水画发展的轨迹,并认为中国古代画论中"龙脉"说的提出,是王原祁时代对布局章法的总结,此词在这一时期与风水的关联淡化了、减弱了,更多的指向绘画作品中的气势及整体效果,从中我们可以看到古人寻找最佳章法的努力。
Influenced by the geomantic culture, artists of ancient China always have this kind of subconscious： searching the most propitious expression in painting arrangement, So the ＂dragon venation ＂ in composition maybe their fatal choice. Following the pedigree of Huang Gong-wang-Dong Qi-chang-Wang Yuan-qi, wefind the developing track of landscape painting of this period, through the taxis and comparing of their works, and hold the opinion that the coming up of ＂dragon venation＂ in Chinese ancient theory of painting is the sum-up of composition during the period of Wangyuanqi. The word prefer to the whole effect and imposing manner in paintings, weakening the relationship with geomantic. From it, we can find the efforts of ancient people searching for the best methodicalness.
出处
《福建师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2008年第6期112-116,共5页
Journal of Fujian Normal University:Philosophy and Social Sciences Edition
关键词
龙脉
黄公望
王原祁
Dragon Venation, Huang Gong-wang, Wang Yuan-qi
