摘要
中国古代艺术的造型观念是意象的 ,是作者把现实的物体怎样转化为心中所要表达的 ,并通过具体形象来表达的一种艺术创造。意象审美具有深刻的社会性 ,我国远古时代的人们在进行审美时采用的方式就是意象的 ,而不是写实的。在中国传统中一直以来都是以意象审美对物进行观照的 ,意象审美牵涉的方面很广 ,绘画、诗歌、音乐、书法、建筑等都以意象审美为基础 ,各个领域在审美上又有许多相同和相通之处。对于绘画来说 ,书法与它的联系是最紧密的 ,书法线条的特殊性和更强调意象的审美含义 ,使绘画从书法中吸取了经验、技巧 ,在表达形式上呈现出更加丰富的笔意 ,把要表达的物象的意境表达得更加突出。对中国古代绘画的造型法则———意象审美进行学习 ,才能使我们更好地认识中国古代绘画 。
The moulding view of ancient china's arts is an imaginary one in which the painterstransferred the existing objects into what they had thought in minds by the means of specific images. Imaginary aesthetics is of great social importance and the ancient artists preferred the imaginary approach to the realistic one in aesthetic activities. Apart from painting, poem, music, calligraphy and architecture took imaginary aesthetics as their basis. By getting experience and skills from calligraphy, painting expresses its imaginary objects more thoroughly and prudently. Studying the moulding law of ancient China's arts enables us to appreciate China's painting better.
出处
《蒙自师范高等专科学校学报》
2002年第5期35-38,共4页
Journal of Mengzi Teachers' College
