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对于张璪画论“外师造化,中得心源”的分析,今人多从西方美学的主客体关系人手。从文献资料可看出,此主客体关系多反映为“物”与“我”对立统一的互动关系。然而,任何哲学或美学概念的产生必有其特殊的文化背景,西方美学中的主客关系与中国古代的物我思想并不完全等同。张躁画论的重点,在于物我,以及主体的内我与外我的内外关系。从思想文化的本质来论,此内外关系的互动与内在联系更是古人认识外物(自然)与自我不同层面的属性的方式。张璪画论的特质,更是以这种方式展现中国古代艺术创作与艺术本体超然形式的精神境界。
For the analysis of Zhang Kui’s painting theory, “the good fortune of the outsider, the source of good fortune,” today people mostly from the relationship between the subject and the object of Western aesthetics. As can be seen from the literature, this relationship between subject and object is mostly reflected in the interactive relationship between “object” and “I”. However, any philosophical or aesthetic concept must have its own special cultural background. The relationship between subject and object in Western aesthetics is not exactly the same as that of ancient China. The focus of Zhang’s theory of painting is that I, as well as the internal and external relations between the internal and external of the subject. From the essence of the ideology and culture, the interaction and internal relations of this internal-external relationship are the means by which the ancients understood the attributes of different kinds of objects (nature) and self. The characteristic of Zhang Kui’s painting theory shows the spiritual realm of the transcendental form of ancient Chinese art and the artistic ontology in this way.