摘要
20世纪20年代至40年代,中国现代美学名家邓以蛰因不满于中国现代美术界的创作弊病以及五四以来质疑国画生命力与价值的激进主张,在紧密结合中国画史与画论的基础上,积极借鉴西方近现代哲学与美学理论来对中国传统绘画进行哲理性研究。邓以蛰围绕“气韵生动”这一核心范畴,将中国古代绘画概括为“体—形—意—理”的线性发展过程,视“理”(气韵生动)为中国古典绘画的理想境界,并率先建构了一种相对完整的系统性绘画美学理论,对于中国现代的美术学研究与美学理论话语建构起到了重要的引领性作用。
Many aestheticians in the 1920s to the 40s were dissatisfied with the maladies of the creation as regards Chinese art and the radical proposition that questioned the vitality and value of Chinese painting since the May 4 th Movement. In such a background,the famous Chinese modern aesthetician Deng Yizhe who attempted actively learning from western modern philosophy and aesthetic theories,conducted philosophical studies of traditional Chinese painting based on a close combination of the history and the theories of Chinese painting. Around the core category of “Vivid Charm”,Deng Yizhe generalized ancient Chinese painting into the linear developmental process of “style-form-intention-principle”. He sees “principle”(Vivid Charm) as the ideal realm of Chinese classical painting,and takes the lead in constructing a relatively complete and systematic aesthetic theory of painting. The studies have played an important leading role in the study of the theories of modern Chinese art and the discourse construction of aesthetic theories.
作者
李雷
LI Lei(School of Literature Capital,Normal University,Beijing 100089,China)
出处
《西北大学学报（哲学社会科学版）》
CSSCI
北大核心
2019年第4期122-130,共9页
Journal of Northwest University：Philosophy and Social Sciences Edition
基金
教育部人文社会科学重点研究基地山东大学文艺美学研究中心重大项目“中华美学精神与20世纪中国美学理论建构”(17JJD720010)
北京市教育委员会科研计划项目(SM201910028006)
首都师范大学2019年度美育研究课题
关键词
邓以蛰
形意之辨
气韵生动
克罗齐
表现说
Deng Yizhe
the distinction between form and meaning
vivid charm
Croce
Expression Theory
