摘要
山水画在中国画中具有广泛的接受度和认知度,它是文人画的主要画种之一。在《南画十六观》和《贝叶与杨花》两书的行文中,作者立足于或"画论"或"诗论",从"生命觉者"的主体论、"自然入画"的创作论和"善巧方便"的目的论三个方面,阐释了一种文人山水画的全新特质,肯定了文人山水画是儒佛道三教融合的产物,并参与了以儒佛道为主体的传统文化建构,是古人"安身立命"之心灵空间。
Landscape painting,the major literati one,is the one with the highest acceptability in the family of Chinese paintings.Among the two works,Sixteen Views on Southern Painting and Pattra leaves—Poplar Blossom,two authors started with the view of life awakened in the Subject theory from the point of painting or poetry,with the view of Natural painting of Creation Theory,with the view of Skillful convenience in Teleology Theory. They consciously or unconsciously revealed to us that the literati landscape painting was the holy compounds with Confucianism,Buddhism and Daoism,which was involved into the construction of the traditional culture taking Confucianism,Buddhism and Daoism as the main structure,and the construction of the Psychic space entrusted by our Chinese ancients.
作者
冯建章
FENG Jian-zhang(School of Arts, Sanya College, Sanya Hainan 572022, Chin)
出处
《齐齐哈尔大学学报（哲学社会科学版）》
2018年第5期28-31,共4页
Journal of Qiqihar University(Philosophy & Social Science Edition)
基金
国家社会科学基金项目西部课题:海南非遗保护与南海主权研究(17XSH004)
关键词
儒佛道
文人山水画
《南画十六观》
《贝叶与杨花》
Confucianism
Buddhism and Daoism
literati landscape painting
Sixteen Views on Southern Painting
Pattra leaves-Poplar Blossom
