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《石渠随笔》是阮元画学思想与审美意识的重要载体。由于阮元在事功、经学、金石、文学、碑学方面的诸多成就与光环,其画学审美意识往往被忽略。阮元《石渠随笔》的论画实践,体现了他以“学”为宗、以“法”为尊、以“技”为径、以“通”为旨的画学审美意识,而其“艺术必与学问相通”、“一门一径,皆有考证”的画学主张和论画中对“萧疏散淡”、“率意挥写”的疏离,既彰显着他治艺如治学的画学思想,也显示出乾嘉学术对当世艺苑审美的影响,昭示着清代审美由虚向实的风尚转向。
“Shiqu essay” is an important carrier of Ruan Yuan’s painting thought and aesthetic consciousness. Due to many accomplishments and aura of Ruan Yuan in his work, classics, gems, literature and inscriptions, his aesthetic awareness of painting is often neglected. Ruan Yuan’s “Shi Qu Essay” theory of painting and painting reflects his “learning” as the case, “law” as the respect, “technology” as the principle, and “pass” as the goal Painting aesthetic awareness, and its “art must be connected with the study of knowledge ”, “one by one, all have research ” of the painting theory and theory of painting "The alienation of writing and writing not only shows his art of painting as a metaphysical subject, but also shows the influence of Qianjia and Jiayi on the aesthetic of the contemporary art world.