动静,作为中国传统画论中的一个概念,常在讨论中国画的范畴中出现。动之所极便为静,静之所致便是动,二者互为依存。动静,同时涉及中外艺术共同的审美理想,艺术家总是试图在静态的造型艺术中表现出动感,以求画中有“诗”、画中有“神”、画中有“意”。本文尝试以西方艺术理论为切入点,探究动静观的理论描述,试图找到中西绘画理论在动静关系上的共同点。 Motion and static, as a concept in traditional Chinese painting, often appear in the category of discussing Chinese painting. The ultimate move is static, static is caused by the move, the two depend on each other. It also involves the common aesthetic ideals of Chinese and foreign art. The artist always tries to show his dynamism in the static plastic arts so as to seek a “poem” in the painting, “God” in the painting, and “ meaning”. This article attempts to use western art theory as a starting point, to explore the theoretical description of the concept of static and dynamic, trying to find the common ground between Chinese and Western painting theory on the relationship between the movement and the movement.