摘要
对中国山水画的研究一般多聚焦于笔墨、构图、境界、美学思想等方面,但在山水画空间建构方面的研究却涉及较少。从空间建构角度入手对倪瓒的山水画进行分析研究,以中国哲学中“形而上者谓之道,形而下者谓之器”的理论作为参照,将倪瓒的山水画的空间解构为“自然空间与笔墨空间”和“心灵空间与境界空间”两大框架,同时又梳理归纳出倪瓒山水画空间的主要建构方式,这些建构方式贯穿了倪瓒山水画创作的整个过程,与倪瓒山水画的空间建构模式有着密切的关联。通过研究可以看出,倪瓒山水画的空间建构模式并非只是单一的技法表现,更多的是一种精神的表达。
The research on Chinese landscape painting has always focused on the aspects of brush and ink, composition, realm and aesthetic thoughts, but the research on the space of landscape painting is quite limited. This paper analyzes Ni Zan's landscape painting from the perspective of space construction. Based on the philosophy that“Those belonging to metaphysics can be called Tao, while those included in the category of physics are considered instruments ”, the paper interprets Ni Zan’s landscape painting space in terms of two frameworks such as “natural space and ink space” and “mind space and realm space”. At the same time, the author summaries the main construction modes of Ni zan’s landscape painting space, which run through the whole process of Ni Zan landscape painting creation and are closely related to Ni Zan’s landscape painting spatial construction mode. The study indicates that Ni Zan’s landscape painting's spatial pattern is more of a spiritual expression than a single technique expression.
作者
郑述明
ZHENG Shu-ming(School of Fine Art and Design, Guizhou Education University, Guiyang, Guizhou, 550018)
出处
《贵州师范学院学报》
2019年第1期40-43,共4页
Journal of Guizhou Education University
关键词
倪瓒
山水画
空间建构
Ni Zan
Landscape Painting
Spatial Construction
