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唐宋以降,工笔山水日趋衰微。宋元之际,因文人隐士的参与,水墨山水空前发展,成为士大夫卧游畅怀之所。山水画因此被赋予精神与品格,从中折射出来的意境,按王国维的解读与辨析,包含了有我之境和无我之境。有我之境,以我观物,故物皆着我之色彩。无我之境,以物观物,故不知何者为我,何者为物。然而,何为有境界,何为无境界呢?王国维进一步解读认为,能写真景物真感情者,
Down in the Tang and Song dynasties, landscapes gradually decline. Song and Yuan Dynasties, due to the involvement of scholars hermits, unprecedented development of ink landscape, a scholar-doctor lying flat-footed. Landscape painting is therefore given the spirit and character, from which reflects the mood, according to Wang Guowei interpretation and analysis, contains the environment with and without me. I am the environment, to my concept of things, the story is all my color. Without me, the concept of things, so I do not know who is me, what is the thing. However, what is the realm, what is no realm? Wang Guowei further interprets that real photo-realistic scenery,