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徐复观对中国艺术的考察中,从传统文化根源出发,明确指出了山水画是道家精神的现实依据。本文试图从玄的意味、逸的追求、远的自觉三个方面来梳理徐复观的山水画思想。在中国艺术活动中,人与自然的融合,常有意无意地以庄子的思想作为媒介。作为中国艺术骨干的山水画,只要达到某一境界时,便于不知不觉中,常与庄子的精神相契合,所以徐复观说:“由庄子所显出的典型,彻底是纯艺术精神的性格,而又主要结实在绘画上面。”[1]也可以说,中国山水画是庄子精神不期然而然的产品。徐复观从以下几个方面展开论
In his investigation of Chinese art, Xu Fuguan explicitly pointed out that landscape painting is the realistic basis of Taoism from the perspective of traditional culture. This article attempts to sort out Xu Fuguan’s landscape painting thought from the three aspects of the mysterious meaning, the pursuit of ease and the far conscious. In the Chinese art activities, the integration of man and nature often uses the thought of Zhuang Zi as a medium. As the backbone of Chinese landscape painting, as long as a certain state, easy to unconsciously, often consistent with the spirit of Zhuang Zi, Xu Fuguan said: “The typical by Chuang-Tzu, completely purely artistic personality, But mainly in the painting above. ”[1] It can also be said that Chinese landscape painting is Chuang Tzu’s unexpected product. Xu Fuguan from the following aspects of development