摘要
董其昌对绘画创作提出一系列观点,在心物关系上,提出"宇宙在乎手者,眼前无非生机",主张师古人和师造化,进而以天地为师,极大地发展了中国山水画创作的"外师造化"观。在构思孕育上,主张"胸中脱去尘俗,自然丘壑内营",重视主体修养,也发展了"中得心源"观。在意象传达上,既推崇一挥而就的"墨戏",又反对过于"简率",表现出综合南北宗的特征。董其昌绘画创作思想影响晚明和清代画坛,为文人画审美意识成为中国山水画正统,奠定了基础。
Dong Qichang puts forward a series of theories about painting creation. As for the relationship be- tween mind and material, he holds that ＂painting creation depends on painters＇ hands from which everything in the universe is displayed with vitality＂, and that painters should learn from both ancient masters and hature, and then regard the heaven and the earth as teacher. Such a view greatly enhances the concept of Chi- nese landscape painting creation. In terms of conception, he advocates that ＂true nature comes into the painters＇ minds only after they are far from the secular world＂, and thus highlights the cultivation of the painters, which has improved the concept of ＂painting with heart as the source＂. As regards image presentation, he respects ＂Mo Xi＂, but opposes ＂Too Simple＂, showing the integration of Southern painting style and Northern painting style. His painting creation thoughts have influenced the late Ming and Qing Dynasty painting and laid a foundation on which the literati painting aesthetic consciousness finally becomes the orthodox Chinese landscape painting.
出处
《民族艺术研究》
CSSCI
2015年第5期137-144,共8页
Ethnic Art Studies
基金
国家社科基金重点项目"中国审美意识通史"阶段性成果
项目编号:11AZD052
关键词
董其昌
绘画创作
感兴
墨戏
Dong Qichang
painting creation
Gan Xing
Mo Xi
