论文部分内容阅读
绘画创作过程,是使无生命的自然物溶心、主体无形的“情”铸形,形成心物一体、情景交融的意象。绘画创作是一个完整的意象思维过程,涉及到绘画意象的发生、形成和传达三个阶段。明代中期画论家绘画意象创构思想有其特点,在绘画意象发生上,主张绘画意象是心物适然相遇的物我冥合、是主体受对象“感兴”触动的神会心得,突显主体审美感知在绘画意象发生中的基础意义;在绘画意象孕育形成上,主张“外静内定”观,突显绘画意象与画家“性情”的本源性关联,强调画家“士气”与“博古”修养对绘画意象创构的作用;在绘画意象传达上,主张画家“即兴”作画,突显绘画意象创构的灵动自由和不受羁勒。明代中期绘画意象创构思想,较比于明代前期重“教化”与“师造化”观,表现出重“墨戏”与“师心源”的转向;相较于元代文人画重“寄兴”一路,表现出对体物象形的强调和世俗趣味的留恋。
The process of painting creation is to dissolve the inanimate natural objects and form the invisible “love ” of the invisible body to form the image of integration of the mind and body and the blending of the scenes. Painting is a complete process of imagery thinking, involving the occurrence, formation and communication of the three stages of painting. In the middle of the Ming Dynasty, the painter’s painting imagery creation thought has its own characteristics. On the imagery of painting, he advocates that the painting imagery is the material object that meets the heart and meets me, which is the God’s experience that the subject is touched by the object “feeling ” , Emphasizing the basic significance of the subject’s aesthetic perception in the occurrence of the painting image. On the formation and formation of the painting image, the author argues that the intrinsic relationship between the painting image and the painter Morale “and” Bo Gu “cultivate the role of the creation of the painting imagery; in the transmission of the painting image, advocate painter ” improvisation “painting, highlighting the spiritual freedom and freedom of the creation of the painting image. Compared with the earlier period of Ming Dynasty, the creation thought of painting images in the middle of the Ming Dynasty was more powerful than that of ”educating“ and ”teachers being different“ in the early Ming Dynasty. In the Yuan Dynasty, the literati painted heavily and ”sent Xing" all the way, showing the emphasis on the physical figure and secular interest nostalgia.